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i>oUTHERN  BRANCH, 

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COSTUMES    AND    SCENERY 
FOR  AMATEURS 

A  PRACTICAL  WORKING  HANDBOOK 


BY 
CONSTANCE  D'ARCY  MACKAY 

Author  of  Tlie  Beau  of  Bath,  How  to  Produce  Children's 

Plays,  Patriotic  Plays  and  Pageants,  The  House  of 

the  Heart  and  other  Plays  for  Children,  etc. 


•         u         t   i'*   J*»    *•»    • 


NEW  YORK 
HENRY  HOLT  AND  COMPANY 


610  0  3 


Copyright,  191S, 

BY 

HENRY  HOLT  AND  COMPANY 


Published  November,  1915 
Reprinted  February,  1917 
Reprinted  September,  1920 
Reprinted  July,  1922 
Repriqted.lvlpveniber,  ^92^  ' 


PRINTED    IN    THE    U    S    A.   BY 

THE    QUINN    a    BODEN    COMPANY 

RAHWAY,    N.    J 


STACK  MlWOf 

Hi3 


^  PREFACE 

This  book  endeavors  to  set  before  amateurs  who  are 
doing  their  own  producing  a  series,  of  costumes  and 

I    scene  sets  that  can  easily  be  copied  for  plays,  pageants, 

'^  masques  or  festivals  in  which  adults  and  children  take 
part.    Costumes  for  children's  plays  are  specially  pic- 

*^^t  .red  since  there  is  no  costume  book  for  children  ex- 
tant. Both  children  and  adults  will  find  costimies  and 
scene  designs  covering  the  range  of  the  historical  play, 
the  folk  play,  the  fairy  play  and  the  play  of  fantasy. 

>J  By  following  the  designs  in  this  book  any  American 
Historical  Pageant  may  be  completely  costmned. 
As  it  is  manifestly  impossible  to  give  all  the  costumes 

I  of  all  the  countries  of  Europe  in  so  compressed  a  space, 
the  costumes  and  scenes  most  in  use  by  amateurs  have 
been  chosen.  With  the  scenes  and  costumes  full  de- 
scriptions of  material,  construction  and  color  are  given, 
and  each  costume  and  scene  is  made  to  serve  as  many 
uses  as  possible.  In  almost  every  case  perspective  has 
been  avoided  in  the  scenes  because  it  is  the  great 
stumbling  block  of  amateurs.  Butterick  patterns 
may  be  obtained  for  many  of  the  costumes,  and  thanks 

are  due  to  the  Butterick  PubUshing  Company  for  their 

iii 


iv  PREFACE 

kindness  in  allowing  their  admirable  costume  plates 
to  be  copied. 

Suggestions  for  an  inexpensive  outdoor  theater  are 
also  given.  There  are  chapters  on  the  amateur  and 
the  new  stage  art,  on  costumes  and  properties,  on 
scene  painting  and  Ughting.  The  scenes  are  such  as 
can  readily  be  adapted  to  Uttle  theater,  college,  high 
school,  grade  school  and  townhall  stages.  The  aim 
has  been  to  strive  for  what  is  practical,  simple  and 
appropriate,  and  to  avoid  that  which  is  elaborate, 
difficult  and  bizarre. 

Thanks  are  due  to  The  Bellman  Magazine  for  per- 
mission to  reprint  the  first  chapter,  and  to  the  Popular 
Educator  for  their  permission  to  reprint  the  third 
chapter. 


CONTENTS 

Page 

The  Amateur  and  the  New  Stage  Art 3 

Costumes 19 

Scenery 63 

Properties  and  How  to  Make  Them 93 

Costume  Plates 97 

Scene  Plates 213 

Index 255 


ILLUSTK^TIONS 


COSTUME  PLATES 

European  Costumes  for  Adults 
Plate  Pace 

1.  Greek  or  Roman loo 

2.  Greek  Costume 103 

3.  Monk's  Costume 108 

4.  Man  in  Armor iii 

5.  Medl£val  Yeoman 112 

6.  Medleval  Peasant  Woman 115 

7.  Medleval  Prince  or  Lord 119 

8.  Medleval  Lady  or  Princess lao 

9.  Elizabethan  Courtier 123 

10.  Elizabethan  Lady 127 

American  and  English  Costumes  for  Adults  and  Children 

11.  Indian  Chieftain 128 

12.  Indian  Girl 131 

13.  Indian  Boy 132 

14.  Pilgrim  or  Puritan  Man 135 

15.  Pilgrim  or  Puritan  Woman 136 

16.  Puritan  or  Elizabethan  Man  at  Arms 139 

17.  Royalist  Lady 143 

18.  Dutch  Peasant  Girl 144 

19.  Eighteenth  Century  Pirate 147 

20.  Colonial  Costume 151 

21.  British  Officer 155 

22.  Eighteenth  Century  British  Soldier 156 

23.  Eighteenth  Century  Trapper 159 

24.  Sailor,  Revolutionary,  Civil  War,  Modern 160 

25.  Colonial  Lady 163 

26.  Colonial  Girl 164 

27.  Gentleman  of  Early  19TH  Century 167 

28.  Lady  of  Early  19TH  Century 168 

29.  Civil  War  Soldieb 171 

vii 


vm  ILLUSTRATIONS 

Pi/TE  Page 

30.  Man  of  Civil  War  Time 172 

31.  Lady  of  Civil  War  Time 175 

31.  A  Modern  Admiral 176 

Fanciful  Costumes  for  Adults 

3^.  Pierrette 178 

34.  Japanese  Man 181 

3$.  Japanese  Lady 182 

36.  Turkish  Lady 185 

37.  Spanish  Dancing  Girl 186 

Costumes  for  Children 

38.  Santa  Claus 187 

39.  Elf 188 

40.  Fairy 191 

41/  Folly 196 

42.   MEDIiEVAL  OR  FaiRY  TaLE  CHILDREN 199 

43  Kate  Greenaway  Children 203 

44  Witch 204 

45  Little  Pierrette 207 

46  Clown 208 

47  Domino 211 

SCENE  PLATES 

1.  Grectan  or  Fairy  Palace 216 

2.  Early  Saxon  Interior 219 

3.  A  Heath  or  Open  Space 220 

4.  Dense  Wood  or  Forest 223 

5.  Kitchen  Scene 224 

6.  Sea  Coast 227 

7.  Castle  Wall.    Highway.    Donjon  Keep 228 

8.  Duplicate  of  Castle  Wall  Showing  How  to  Draw  Scene  to 

Scale 23 1 

9.  Street  Scene 232 

10.  Garden 235 

11.  TxrooR  Room 236 

12.  Little  House  in  Wood 239 

13.  Pirate  or  Medleval  Ship 240 

14.  Modern  Yacht  or  Ship 243 

Furniture  Plate.    Roman  Chair.    Saxon  Seat.    Roman  or  Mediaeval 

Throne  Chair.    Colonial  Chair.    Colonial  Window 247 

Open  Air  Greek  Theater 251 


THE  AMATEUR  AND   THE   NEW  STAGE 

ART 


THE  AMATEUR  AND  THE  NEW  STAGE  ART 

The  object  of  this  book  is  to  set  before  amateurs  who 
are  doing  their  own  producing  a  series  of  costumes  and 
scenes  which  can  easily  be  copied  for  play,  pageant  or 
festival.  The  volume  aims  to  be  what  its  title  in- 
dicates— a  practical  working  handbook. 

The  range  of  costume  covers  the  fairy  and  fantastic 
play,  the  folk  play,  and  the  historical  play  or  pageant. 
The  color  and  material  of  each  costume  is  fully  de- 
scribed: suggestions  are  made  as  to  which  type  of  play 
they  will  best  fit.  In  many  cases  patterns  of  the  cos- 
tumes may  be  obtained.  Almost  every  costume  is 
made  to  serve  half  a  dozen  different  uses  by  the  ehmina- 
tion  of  a  cloak  here,  or  the  addition  of  a  shield  and 
crown  there.  For  those  who  wish  a  wider  variety  of 
costume  than  that  given  here  there  are  notes  directing 
them  to  other  costume  books.  In  the  present  volume 
costumes  for  both  children  and  adults  are  given.  All 
the  periods  of  American  costume  are  portrayed,  so 
that  by  referring  to  this  book  any  American  historical 
play  or  pageant  may  be  completely  costumed. 

It  is,  of  course,  manifestly  impossible  to  give  all  the 
costumes  for  all  the  countries  of  Europe,  or  all  the 
periods  of  European  history  in  so  compressed  a  space. 

3 


4      THE  AMATEUR  AND  THE  NEW  STAGE  ART 

Therefore  the  costumes  most  in  use  in  amateur  productions 
have  been  selected.  Moreover,  with  the  exception  of 
American  costumes,  only  the  most  salient  outlines  of 
historical  periods  are  given.  The  idea  has  been  to 
avoid  unnecessary  fussiness  of  detail,  mere  overloading 
of  accuracy.  The  outline,  the  spirit  of  each  century  is 
given,  and  after  all,  that  is  what  is  most  necessary. 
Therefore  one  may  read:  Mediaeval  costume  for  Noble- 
man, Twelfth  to  Fourteenth  Century.  This  means 
that  the  costume  in  question  represents  a  general 
type,  and  not  the  extreme  fashion  of  the  particular 
period. 

The  same  thing  is  true  of  the  designs  for  scenery. 
Those  who  remember  Granville  Barker's  production 
of  Anatole  France's  droll  play.  The  Man  Who  Married 
a  Dumb  Wife,  wiU  recall  that  the  flat  scene  against 
which  the  comedy  was  played  might  have  been  mediae- 
val France  or  England  or  a  happy  No  Man's  Land. 
It  gave  an  atmosphere  that  was  mediaeval,  and  that 
was  enough.  It  was  something  that  any  amateur 
might  copy,  for  it  had  no  perspective.  And  perspec- 
tive is  the  great  stumbling  block  of  the  amateur  scene 
painter.  Therefore,  in  as  far  as  possible,  perspective 
in  these  scene-designs  has  been  eUminated,  and  scenery 
which  any  amateur  will  be  able  to  paint  has  been 
given.  As  has  been  said:  manner  and  spirit  are  what 
have  been  striven  for,  not  excessive  detail.    For  what 


THE  AMATEUR  AND  THE  NEW  STAGE  ART   5 

is  scenery  meant  to  be  but  an  unobtrusive  yet  decora- 
tive background  against  which  a  play  is  played?  In 
this  case  it  has  purposely  been  kept  simple  and  inex- 
pensive. Directions  for  its  construction,  materials, 
and  coloring  are  given  in  each  instance.  Every  scene 
represented  may,  by  slight  changes,  be  made  to  serve 
haK  a  dozen  different  uses.  The  author  realizes  that 
while  new,  well-equipped  Little  Theaters  are  springing 
up  throughout  the  country  representing  the  finest  type 
of  amateur  work,  there  will  remain  in  our  midst  for 
many  years  to  come  college,  high  school,  grade  school, 
guildhall  and  townhall  "auditorium"  stages  equipped 
with  the  old  type  of  rococo  scenery,  and  the  old  ar- 
rangements for  hghting.  In  all  probabiUty  it  will  be 
a  long  time  before  these  stages  are  done  away  with. 
They  must  be  made  the  best  of  as  they  stand.  The 
one  thing  that  can  be  quickly  remedied  about  them  is 
the  scener}^  With  hangings  or  simple  decorative  back- 
drops the  most  hopeless  stage  can  be  made  more  ade- 
quate than  it  ever  was  before. 

One  of  the  first  queries  that  wiU  arise  in  connection 
with  this  is:  "Why  should  so  much  time  and  effort 
be  expended  on  amateur  work?  What  does  it  matter 
if  their  scenery  is  inadequate,  or  their  costumes  of  the 
deadly  average?  They  are  only  amateurs,  after  all." 
The  querist  might  be  reminded  that  the  glory  of  Greek 
drama  sprang  first  from  the  work  of  amateurs.    Pre- 


6      THE  AMATEUR  AND  THE  NEW  STAGE  ART 

Elizabethan  drama — the  prologue  to  a  mighty  renais- 
sance— ^was  almost  wholly  in  the  hands  of  amateurs. 
In  both  these  instances  a  deeper  knowledge  and  love 
of  the  drama  was  the  result.  In  other  words,  through 
amateur  participation  general  appreciation  increased. 
With  the  increase  of  this  appreciation  came  the  demand 
for  a  fuller  art.  Exactly  the  same  thing  may  come  to 
pass  in  our  own  day  through  the  use  of  amateur  plays/ 
masques  and  pageants — ^if  they  be  of  a  high  order. 
Amateur  drama  is  no  longer  a  mere  stop-gap :  in  many 
instances  it  has  come  to  have  a  place  of  its  own,  to 
be  regarded  seriously.  Practiced  amateurs  not  only 
find  pleasure  in  the  exercise  of  their  talent,  but  bring 
to  the  professional  theater  as  appreciators  a  grade  of 
intelligence  that  demands  a  better  stage  art.  If  the 
stage  gives  the  pubHc  "What  the  PubUc  Wants"  and 
if  what  the  public  wants  is  trashy  and  ephemeral, 
then  let  the  public  become  participators,  and  what 
the  public  wants  will  be  worth  while.  The  need  for  a 
better  stage  art  in  this  coimtry  is  too  great  to  be  ques- 
tioned, and  the  Power  of  Demand  Hes  in  the  hand  of 
amateurs — in  other  words,  of  the  audience.  Some  of 
the  most  significant  work  of  this  generation — significant 
in  its  beautiful  sincerity  and  simplicity — the  work 
of  the  Irish  Players,  was  made  possible  through  ama- 

^  It  was  for  Masques  in  which  amateurs  participated  that  the  first 
scenery  ever  designed  came  to  be  painted  by  a  master  of  the  art  of  the 
theater,  Inigo  Jones. 


THE  AMATEUR  AND  THE  NEW  STAGE  ART   7 

teur  productions  recruited  from  the  ranks  of  young 
working  people  who  demanded  more  of  an  emotional 
outlet  than  their  everyday  lives  gave  them.  They 
began  with  a  hired  hall,  and  scenery  constructed  from 
potato  sacks:  they  ended  by  setting  a  standard,  creat- 
ing a  movement. 

All  over  the  world  the  dramatic  yeast  is  seething. 
Everywhere  new  experiments  are  being  made.  The 
cluttered  and  ornate  is  being  swept  away:  the  beautiful 
and  imaginative  is  taking  its  place.  We  are  dealing 
more  with  symbol  and  less  with  fact.  We  are  realizing 
that  a  play  written  in  one  mood  and  produced  in  an- 
other, music,  scenery  and  costumes  in  yet  another, 
is  chaos  and  not  art.  A  host  of  regisseurs — Masters 
of  the  Art  of  the  Theater — have  appeared  in  Europe. 
England  has  Gordon  Craig,  a  theorist  whose  revolu- 
tionary ideas  have  been  the  means  of  starting  this 
whole  movement  of  the  New  Art  of  the  Theater.  The 
art  of  the  German  theaters  is  dominated  by  such  men 
as  Max  Reinhardt,  Ottomar  Starke,  Adolph  Liimeback, 
George  Fuchs,  and  Adolph  Appia — the  greatest  au- 
thority on  the  new  Ughting  system.  Also  Schinkel, 
the  designer  who  discovered  the  wide  use  of  stage 
draperies.  In  Russia,  Constantin  Stanislavski,  of  the 
Art  Theater.  In  Hungary,  Alexander  Hevesi,  in 
France,  Jacques  Rouch6,  and  in  this  country,  Livingston 
Piatt  and  Robert  Jones.    America  has  also  borrowed 


8   THE  AMATEUR  AND  THE  NEW  STAGE  ART 

Joseph  Urban,  a  German  who  designs  imaginative 
settings  for  Grand  Opera.  Of  this  movement,  and  yet 
apart  from  it,  is  Leon  Baskt,  whose  crude  gorgeous 
color  schemes  have  a  barbarity  that  arrests  attention, 
but  that  hardly  makes  for  permanence.  His  is  the  bril- 
hancy  of  a  flaring  sky  rocket:  not  the  steady  shining 
of  a  star.  It  is  not  the  bizarre  in  art  that  lives.  Last, 
but  not  least,  there  has  been  estabhshed  abroad,  and 
in  one  place  in  this  country,  the  Fortuny  Lighting  sys- 
tem. This  is  a  system  which  Ughts  the  stage  indirectly. 
It  envelopes,  but  does  not  strike.  It  is  luminous, 
not  glaring.  Its  bright  light  thrown  against  small 
screens  of  colored  silk,  and  from  these  screens  reflected 
onto  the  stage,  makes  it  possible  to  flood  the  stage 
with  whatever  tint  is  desired.  This  lighting  system 
is  used  in  connection  with  another  great  stage  inven- 
tion: the  horizont,  or  dome  cyclorama  built  of  white 
plaster  and  placed  at  the  back  of  the  stage,  as  a  horizon. 
When  played  on  by  the  right  Hghts  it  gives  a  wonderful 
effect  of  depth.  Its  power  of  illusion  is  incalculable. 
For  the  first  time  in  its  history  the  theater  is  able  to 
give  true  sky  effects.  It  may  be  the  fleece  white  sky 
of  morning,  or  the  hot  vault  of  noon,  the  rose  of  sun- 
set, the  succeeding  violet  of  dusk,  the  deep  ultra- 
marine of  night — one  melts  into  the  other  impercep- 
tibly. All  this  is  the  work  of  Germany,  and  there  has 
been  added  thereto  experiments  in  the  kind  of  stages 


THE  AMATEUR  AND  THE  NEW  STAGE  ART      9 

There  are  extant  in  Germany  to-day  four  kinds  of 
stages:  the  average  stage  to  which  we  are  accustomed, 
plus  the  revolving  stage,  the  wagon  stage,  and  the 
shding  stage. 

With  all  these  experiments,  or  perhaps  because  of 
these  experiments,  we  are  having  a  distinct  cleavage 
in  drama.  On  the  one  hand  the  seed  sown  by  Ibsen  is 
flowering  in  the  plays  of  Brieux,  Galsworthy,  Shaw, 
Barker — the  drama  of  ideas:  while  on  the  other  hand 
we  have  the  drama  represented  by  Gordon  Craig, 
Max  Reinhardt,  and  Leon  Baskt — the  decorative 
drama,  filled  with  color  and  romance.  Or,  to  change 
the  simile,  we  have  what  Sheldon  Chaney  has  termed: 
"The  drama  of  sincerity  and  the  aesthetic  drama." 

Now  all  this  ferment  abroad  has  led  to  direct  results 
at  home.  If  the  horizont  and  the  Fortuny  Lighting 
system  is  Germany's  contribution  to  the  modem  stage, 
America's  contribution  is  the  increasing  number  of 
laboratory  theaters,  some  wholly  amateur,  some  partly 
professional,  that  are  working  out  their  own  problems 
along  original  lines.  They  were  the  first  to  dare,  to 
experiment.  They  have  not  allowed  themselves  to 
become  hidebound  by  tradition.  American  managers 
will  not  risk  money  on  experiments  that  appeal  to  only 
a  small  public:  the  Uttle  theaters  have  been  more  cour- 
ageous. And  their  courage  has  been  rewarded.  Says 
one  of  our  most  far-seeing  dramatic  critics:  "It  is  in 


lo    THE  AMATEUR  AND  THE  NEW  STAGE  ART 

gradually  arousing  this  public  demand  that  the  ex- 
perimental centers  have  been  doing  their  most  valu- 
able work.  They  have  been  as  commercial  institutions 
can  never  be  .  .  .  free.  The  theater  managers  will 
presently  be  only  too  glad  to  employ  the  services  of 
artists  rather  than  those  of  handymen  in  their  produc- 
tions. And  the  experiments  of  the  amateur  the- 
aters .  .  .  will  have  a  goodly  share  in  making  this 
possible."  In  New  York  City  the  Neighborhood  Play- 
house has  the  new  Hghting  and  the  horizont.  It  has 
been  the  first  to  make  these  innovations.  In  the  same 
city  the  Bandbox  Theater,  a  little  playhouse  of  the 
dimensions  its  name  suggests,  houses  a  group  of  gifted 
amateurs  ^  who  have  played  to  capacity  houses  imder 
the  same  roof  where,  before  their  advent,  professionals 
had  failed.  Their  programmes  consist  mostly  of  one- 
act  plays,  alternating  the  "drama  of  sincerity"  and 
the  "decorative  drama." 

Other  experimental  theaters  have  taken  root  in  Chi- 
cago, Boston,  Philadelphia,  and  Milwaukee;  colleges 
have  their  dramatic  laboratories — notably  Harvard, 
Dartmouth,  and  the  Carnegie  Institute  in  Pittsburg. 
Hull  House  in  Chicago  has  done  work  that  is  genuinely 
contributive.  No  work  is  done  in  any  of  these  "  labora- 
tories" but  what  is  more  or  less  influenced  by  two  salient 
aspects  of  the  new  movement  of  theater  art,  namely,  the 

*The  Washington  Square  Players. 


THE  AMATEUR  AND  THE  NEW  STAGE  ART    ii 

use  of  simple  flat  backgrounds  for  decorative  scenes,  and 
the  use  of  one  scene  for  a  number  of  different  purposes, 
made  by  changing  its  hghting  and  accessories.  These 
laboratories  are  showing  how  fussy,  over-elaborated  sets 
may  be  replaced  by  simple  backgrounds  that  suggest 
the  atmosphere  of  the  scene,  and  throw  the  actor  into 
high  relief.  The  sheer  yellow  wall  of  the  oriental 
palace  in  Rhinehardt's  Sumurun  pointed  to  what  the 
perfectly  plain  backdrop  could  do  in  the  matter  of 
heightening  decorative  effect.  Since  then  the  experi- 
mental theaters  have  had  any  number  of  plain  back- 
drops— sometimes  a  window  or  a  door  breaks  the  sheer 
wall,  which  may  be  gray  or  brown  or  green,  or  black 
or  deep  old  rose  or  white — according  to  what  is  set 
before  it.  A  pantomime  with  all  the  characters  dressed 
in  white  and  shown  against  a  black  background  was 
recently  given  by  the  Washington  Square  Players  with 
remarkable  decorative  effect.  At  a  performance  of  a 
Christmas  play  in  one  of  the  German  theaters  a  back- 
drop formed  by  a  deep  blue  curtain  covered  thickly 
with  silvery  stars  formed  the  midnight  sky  against 
which  the  gorgeously  robed  Magii  were  shown  in 
silhouette. 

The  second  aspect — the  use  of  one  scene  in  a  number 
of  different  ways — was  splendidly  shown  in  a  perform- 
ance in  the  professional  theater,  where  the  play  was 
Hauptman's  Elga.   The  play  was  produced  by  Emanuel 


12    THE  AMATEUR  AND  THE  NEW  STAGE  ART 

Reicher.  Its  scenery,  frankly  of  the  Rhinehardt  school, 
was  plain  even  to  austerity.  By  the  substitution  of  a 
few  pieces  of  furniture,  and  the  closing  and  opening  of 
a  curtain,  one  scene  was  made  to  represent  such  widely 
different  places  as  the  living  room  of  a  family  whose 
tastes  were  not  austere,  and  the  bare,  ascetic  sleeping 
chamber  of  a  monastery. 

By  this  means,  that  is,  by  the  use  of  a  simple  set 
with  accessories  that  can  easily  be  moved,  there  is  a 
tremendous  gain  in  the  pace  and  continuity  of  a  play. 
What  a  professional  producer  has  done  an  amateur 
producer  can  at  least  copy.  Everyone  knows  that  one 
of  the  many  drawbacks  of  amateur  productions  is  the 
tiresome  waiting  between  the  acts.  The  interest  in 
the  story  flags :  the  grip  of  the  play  is  lost.  If  amateurs 
would  be  content  to  stage  a  play  with  one  or  two  sets, 
or  even  with  one  set,  and  use  care  in  the  selecting  and 
changing  of  their  properties,  they  could  lift  the  whole 
level  of  their  performance.  The  performance  of  Elga 
with  only  one  set  showed  that  variety  and  contrast 
could  be  obtained  by  the  simplest  means.  Better  a 
swiftly  moving  and  engrossing  performance  staged 
against  a  background  of  curtains  than  a  dragging 
production  staged  against  half  a  dozen  different  back- 
grounds. The  Gordon  Craig  production  of  Hamlet 
at  the  Art  Theater  of  Moscow  had  scenery  composed 
of  cream-colored  screens — nothing  more.     Craig  has 


THE  AMATEUR  AND  THE  NEW  STAGE  ART    13 

also  designed  a  production  of  Macbeth  that  is  to  be 
staged  in  two  colors,  the  brown  of  rock,  and  the  gray 
of  sweeping  mists. 

All  this  goes  to  prove  that  the  non-commercial  (un- 
usual or  poetic)  drama  Hes  in  the  hands  of  the  amateur. 
There  is  an  ever-growing  list  of  plays  that  should  have 
production,  but  that  will  not  have  it  imder  the  present 
conditions  of  the  commercial  theater.  Everyone  recog- 
nizes the  indulgent  boredom  that  is  usually  connected 
with  amateur  "dramatics."  The  chief  reason  for  this 
is  that  the  average  amateur  likes  to  appear  in  a  play 
that  has  already  had  professional  production,  thereby 
challenging  the  memory  of  the  audience,  which  con- 
sciously or  unconsciously,  compares  the  professional 
and  the  amateur  production  almost  always  to  the 
detriment  of  the  latter.  The  average  amateur  produc- 
tion cannot  have  the  finish,  the  pace  of  the  professional 
production.  It  never  will  have.  Why,  then,  challenge 
the  audience?  WTiy  not  arouse  a  feeling  of  interest 
rather  than  of  leniency?  Why  not  produce  a  play 
that  has  never  been  seen  before,  that  will  have  a  fresh 
appeal?  In  other  words:  why  should  amateurs  be 
content  to  repeat,  instead  of  to  create? 

All  amateurs  cannot  have  a  theater  to  work  in.  The 
Irish  Players  began  in  a  hall.  But  if  all  amateurs  would 
consider  themselves  as  part  of  this  great  new  recrea- 
tive movement  that  is  expressing  itself  through  play 


14    THE  AMATEUR  AND  THE  NEW  STAGE  ART 

and  masque  and  pageant,  if  they  would  regard  their 
work  as  worth  while,  whether  it  be  in  college,  amateur 
dramatic  club  or  grade  school,  we  should  have  a  very 
diGferent  type  of  amateur  production.  Greater  care  in 
play  selection,  more  care  as  to  production,  and  more 
time  devoted  to  scenery  and  costumes  will  work 
wonders.  If  it  had  not  been  for  amateurs,  Gilbert 
Chesterton's  Magic,  Maeterlinck's  A  Miracle  of  St. 
Anthony,  and  Housman's  Chinese  Lantern  might  still 
be  improduced  in  this  country. 

While  very  experienced  amateurs  may  essay  the 
"drama  of  sincerity,"  there  is  a  lift  to  costume  plays 
for  average  amateurs  that  modem  plays  do  not  have. 
The  color  and  poetic  atmosphere  of  a  costume  play 
will  go  far  to  carry  it  along.  The  disguise  which  the 
costume  affords  is  an  aid  to  the  self-conscious  amateur. 
Not  only  that,  but  such  a  change  is  wrought  in  the 
appearance  of  the  actor  that  the  illusion  is  greater. 
The  audience  can  forget  the  personality  which  they 
know,  and  focus  attention  on  a  personality  which 
seems  new. 

The  one-act  play,  which  is  the  short  story  of  the 
drama,  has  a  place  in  the  continental  theaters,  but 
none  in  ours.  Here  again  is  a  field  where  the  amateur 
should  be  producer.  As  a  rule  the  amateur  shines  in 
this  form  of  art,  because  it  makes  less  demand  than 
the  long  play.    It  is  less  apt  to  be  "patchy."    With 


THE  AMATEUR  AND  THE  NEW  STAGE  ART    15 

one-act  plays  and  with  longer  plays,  simple  scenery 
will  be  best.  It  will  obviate  the  long  waits  between  the 
acts,  and  give  the  play  greater  coherency.  As  has  been 
said,  one  of  the  greatest  drawbacks  to  amateur  produc- 
tions are  these  tiresome  entr'acts.  Why  not  sacrifice 
elaborateness  of  setting  and  gain  continuity? 

Even  the  Children's  and  Young  People's  Commimity 
Theaters  are  feeling  the  set  of  the  tide.  Where  chil- 
dren's plays  and  their  scenery  were  once  chosen  at 
haphazard  there  is  now  a  genuine  desire  for  the  candor 
and  beauty  of  effect  that  one  gets  in  the  drawings  of 
Boutet  de  Monvel.  Children's  plays  costumes  and 
scenery  have  undergone  a  complete  change.  Ama- 
teur producers  are  realizing  that  the  best  is  none  too 
good  for  the  impressionable  years. 

There  is  so  great  a  movement  toward  making  every 
available  hall  and  auditorium  into  a  commimity  theater 
where  actors  and  audience  alike  may  be  art  pioneers 
that  even  the  least  prophetic  amongst  us  can  see  that 
with  the  exercise  of  care  and  patience,  the  results  will 
be  of  no  mean  order. 


COSTUMES 


COSTUMES 

As  with  the  scenery,  so  with  the  costumes  in  this 
book:  the  ones  most  in  tise  are  the  ones  given  in  the 
illustrations.  Those  less  in  use,  and  not  given  in  the 
costume  plates,  will  be  described  in  this  chapter.  Cos- 
tumes for  adults  and  children  will  be  discussed,  and 
some  special  directions  for  costuming  the  latter  will 
be  appended  to  this  chapter.  Costume  and  the  his- 
tory of  costume  is  such  a  vast  subject  that  only  a  few 
of  its  most  salient  points  can  be  discussed  here.  The 
costumes  of  the  most  ancient  peoples  will  be  discussed 
first:  then  the  Greek  and  Roman:  and  then  the  early 
French  (Gauls)  and  Saxons,  and  so  on  up  to  modem 
times.  Since  the  material  and  color  of  costume  in  the 
olden  time  was  often  regulated  by  law  as  well  as  by 
custom,  some  of  the  laws  and  customs  must  be  briefly 
sketched. 

But  a  few  words  first  to  the  amateur  producer.  In 
costmning  a  play  a  good  costume  book  is  an  immense 
help;  next  to  the  costume  book,  standard  histories,  well 
illustrated.  If  the  reader  of  these  lines  is  a  producer 
living  in  the  most  out-of-the-way  hamlet,  or  an  already 
over-crowded  public  school  teacher,  they  will  find  a 
large  dictionary  of  the  utmost  help.    Webster's  dic- 

19 


20  COSTUMES 

tionary  is  the  one  referred  to  in  the  following  para- 
graphs, but  any  large  dictionary  will  be  sure  to  have 
helpful  points  as  to  ancient  costumes,  and  properties. 
In  the  back  of  dictionaries,  under  the  heads  of  Mythol- 
ogy, Armor,  Heraldry,  Middle  Ages,  etc.,  there  are  sure 
to  be  illiuninating  pictures.  Under  the  words  Armor, 
Canopy,  Broadsword,  Coat  of  Mail,  Shield,  etc.,  etc., 
pictures  may  be  found,  and  be  found  more  quickly 
than  in  looking  in  books. 

Oriental  Costumes 

Costumes  for  Bible  plays,  and  plays  laid  in  the  Holy 
Land  are  not  given  in  the  costume  plates,  because 
plays  of  this  type  are  not  in  such  general  use  as  the 
historical  or  fantastic  play.  They  can  easily  be  made, 
however.  The  basis  of  the  men's  costimae  is  the  tunic, 
linen  or  cotton,  and  it  is  fashioned  after  the  same  lines 
as  the  tunic  on  page  loo.  It  should  be  very  plain  and 
have  only  a  cord  for  a  girdle.  Besides  this  tunic  the 
men  wore  a  mantle,  generally  striped  in  one  or  two 
colors.  This  was  fastened  to  one  shoulder  and  drawn 
about  them.  The  older  men  wore  the  tunic  coming 
almost  to  the  ankle,  the  tunics  of  the  young  men  came 
to  the  knee.  All  classes  wore  sandals.  The  poorer 
classes  such  as  shepherds  and  tillers  of  the  soil  wore 
coarse  tunics  such  as  can  be  made  from  potato  sacking. 
Tunics  were  either  in  white  or  a  solid  color.    They 


ARABIAN  COSTUMES  2i 

were  never  striped.  The  mantles  were  sometimes 
made  of  plain  material.  Scarlet,  purple  and  gold  were 
colors  usually  confined  by  custom  to  men  of  high  rank, 
kings  and  high  priests.  All  boys  wore  the  short  tunic, 
whether  in  white  or  colors.  The  women  wore  long 
timics,  falling  straight  from  neck  to  ankle.  These 
tunics  were  made  in  plain  colors  or  white.  With  this 
was  worn  a  plain  or  striped  mantle,  much  larger  than 
the  mantle  worn  by  the  men.  It  was  draped  about  the 
head  and  shoulders  and  fell  to  the  edge  of  the  tunic. 
Anklets  and  bracelets  of  gold,  silver  and  jewels  were 
worn.  The  hair  floated  loose  about  the  shoulders. 
Girls  wore  the  same  costumes  as  women,  but  in  very 
Uttle  girls  the  tunic  was  shorter.  The  following  books 
\vill  give  suggestions  for  costumes :  The  Castle  of  Zion, 
by  Dean  Hodges;  the  "  Peeps  at  Many  Lands  Series; " 
the  Acting  Edition  of  Joseph  and  His  Brethren,  by 
Louis  N.  Parker;  the  illustrated  edition  of  Ben  Hur; 
and,  best  of  all,  Tissot's  Life  of  Christ. 

Arabian  Costumes 

For  Arabian  costumes,  with  their  combination  of 
white  and  flaring  color,  made  in  the  same  way  as  the 
costumes  described  above  for  the  Holy  Land,  and 
for  the  strange  Eastern  costumes  of  the  Arabian  Nights, 
including  Persia,  the  following  books  will  give  good 
ideas  for  costumes  to  be  used  in  festivals  and  pan- 


22  COSTUMES 

tomimes:  Omar  Khayyam,  illustrated  by  Elihu  Vedder; 
The  Arabian  Nights,  by  Olcott;  Princess  Baldura,  by 
Lawrence  Housman,  illustrated  by  Dulac;  The  Arabian 
Nights,  by  K.  D.  Wiggin  and  N.  A.  Smith,  illustrated 
by  Maxfield  Parrish. 

Egyptian  Costumes 

The  curious  tight  swaddled  Egyptian  costume,  mostly 
made  in  striped  material,  can  be  copied  from  the  follow- 
ing books  for  those  wishing  to  give  Egyptian  dances 
or  pantomimes:  Illustrations  of  Greek,  Roman,  and 
Egyptian  Costume  by  Baxter.  The  Egyptian  Head- 
dress with  a  band  across  the  forehead,  and  two  strips 
hanging  over  the  ears,  widening  as  they  touch  the 
shoulder,  is  exceedingly  easy  to  copy. 

Chinese  Costumes 

For  Chinese  costumes  of  the  strange  bright  loveh- 
ness  seen  on  old  tea  chests,  and  for  costumes  for  Hous- 
man's  Chinese  Lantern,  Aladdin,  the  little  play  of  The 
Willow  Ware  Plate,  etc.,  etc.,  the  following  books: 
The  Punishments  of  China  by  George  Henry  Mason, 
can  be  found  in  most  Hbraries.  It  has  pictures  in  color. 
See  also  the  story  of  Aladdin  in  The  Arabian  Nights 
by  Lawrence  Housman,  and  the  Arabian  Nights  by 
Kate  Douglas  Wiggin  and  Nora  Archibald  Smith, 
illustrated  by  Maxfield  Parrish. 


ANCIENT  GRECIAN  COSTUME  23 

Japanese  Costumes 

For  Japanese  plays  and  operettas,  like  the  Mikado, 
Japanese  costumes  are  already  given  here;  they  can 
be  copied  from  the  following  books:  Japanese  Fairy 
Tales,  Japan  in  "  Peeps  at  Many  Lands  "  series,  and 
Letters  from  Japan,  by  Mrs.  Hugh  Eraser. 

CosTXJMES  OF  India 

Costumes  for  plays  of  India,  such  as  Tagore's,  should 
be  copied  from  books  on  that  country.  The  long  white 
sleeved  tunics,  and  brilliant  turbans  of  the  men,  the 
white  costumes  of  the  women,  and  the  splendor  of  the 
dancing  girls  can  be  copied  from  books  Hsted  here. 
The  sari,  or  mantle  of  the  women,  is  cut  the  length  and 
breadth  of  a  Bagdad  couch  cover,  and  is  wound  about 
the  head  and  shoulders.  It  should  be  remembered  that 
aU  the  different  casts  of  India  have  different  costumes, 
and  it  is  not  as  easy  to  costume  a  play  laid  in  that 
country  as  it  appears  at  first  sight.  Mowgli  by  Kip- 
ling has  facinating  pictures  which  can  be  copied.  Also 
Kipling's  complete  works  have  illustrations  by  John 
Lockwood  Kipling. 

Ancient  Grecian  Costume 

Ancient  Grecian  costume  for  men  can  be  fashioned 
with  the  tunic  on  page  100  as  a  basis.  This  was  the  way 
Grecian  tunics  for  men  were  made.    The  materials 


24  COSTUMES 

were  woolen  or  linen.  Greek  youths  wore  a  cloak 
called  a  chalmys.  It  was  four  and  a  half  feet  long  by 
three  feet  wide.  It  was  fastened  to  the  right  shoulder. 
Solid  colors  were  used  in  cloaks  and  tunics.  Ornamen- 
tation was  confined  to  borders  on  the  tunic,  and  around 
the  edges  of  the  neck  and  sleeves.  The  foot  gear 
was  sandals — ^low  sandals,  or  high  laced  sandals  as  on 
page  loo.  Greek  men  and  boys  wore  their  hair  short. 
They  never  parted  it  on  the  side.  It  was  always  parted 
in  the  middle. 

Grecian  soldiers  wore  upper  body  armor,  had  a 
curiously  shaped  helmet,  and  round  shields.  They 
carried  long  spears.  The  shield  was  called  an  aegis,  and 
a  picture  of  it  called  by  that  name  can  be  found  in 
Webster's  dictionary.  Pictures  of  the  god  Mars,  given 
in  dictionaries  and  mythologies,  will  give  a  good  idea 
of  the  helmet  and  armor.  This  armor  can  be  simulated 
by  heavy  gray  carpet  paper.  Boys  wore  a  tunic  coming 
to  the  knee;  but  little  boys  might  not  wear  the  chalmys, 
the  national  garment  for  men  and  youths. 

The  costume  for  a  Greek  woman  will  be  found  on 
page  103.  It  can  also  be  found  in  pictures  of  the  Greek 
goddesses.  It  was  made  of  wool  or  linen.  The  costume 
on  page  191  of  a  Fairy  can  be  adapted  for  a  Greek 
girl  by  leaving  off  the  wings.  The  costumes  of  Greek 
women  or  girls  were  either  white,  yellow,  crimson,  blue 
or  green.     They  were  always  in  solid  colors.     They 


ANCIENT  ROMAN  COSTUME  25 

might  be  ornamented  with  borders.  Women  and  girls 
wore  their  hair  high  on  their  heads,  or  in  a  Psyche  knot. 
It  was  bound  with  Greek  bands  or  a  fillet,  or  chaplet. 
Very  young  girls  wore  their  hair  "bobbed"  much  in 
the  fashion  of  to-day.  The  hair,  save  in  the  case  of 
dryads,  water  sprites,  hamadryads,  and  other  mytho- 
logical creatures  of  the  woods  and  fields,  was  never 
worn  flying.  The  following  books  give  suggestions  for 
Grecian  costimies  for  men,  women  and  children: 
Greek  Dress,  by  Ethel  Abrahams;  The  Attic  Theater, 
by  Haigh;  The  Odessy  for  Boys  and  Girls,  by  A.  J. 
Church.  For  the  Isadora  Duncan  type  of  costume  for 
children,  with  excellent  color  effect,  see  The  Schuman 
Album  of  Children's  Pieces,  with  illustrations  by  WiUe- 
beeck  Le  Mair. 

Ancient  Roman  Costume 

The  ttmic  on  page  100  is  the  basis  for  a  Roman  cos- 
tume for  boys  and  men.  The  tunic  was  imiversal  in 
Ancient  Rome.  Young  men  and  soldiers  wore  the 
short  tunic,  coming  to  the  knee.  Older  men,  nobles 
and  law  givers,  wore  the  tunic  ankle  length.  Pic- 
tures of  Julius  Caesar  will  recall  this  costume.  Over 
this  tunic  was  worn  a  toga,  or  cloak,  the  national 
garment  of  the  Romans.  It  was  fastened  on  the  left 
shoulder,  and  then  drawn  about  the  body.  It  was 
made  of  wool — ^white  wool  for  ordinary  folk,  purple  for 


26  COSTUMES 

emperors  and  generals.  No  one  except  an  emperor  or 
a  general  was  allowed  to  wear  purple.  This  was  a 
rule  rigidly  enforced.  Purple  was  the  color  of  the 
Caesars.^ 

The  soldiers  wore  the  short  white  tunic  with  upper 
body  armor,  a  breastplate,  a  round  shield  and  a  hel- 
met— ^but  the  helmet  was  far  different  in  shape  from 
that  of  the  Greeks.  Over  the  skirt  of  the  tunic,  hung 
from  the  armor  at  the  waist  were  strips  of  leather. 
Pictures  of  leather  body  armor  can  be  found  under  the 
word  corium  in  Webster's  dictionary.  The  helmets 
varied,  and  can  best  be  copied  from  pictures  depicting 
the  reign  of  the  various  emperors.  The  Roman  boys 
and  men  wore  their  hair  cut  close.  The  costumes  for 
Roman  women  were  something  like  that  of  the  Greek, 
enough  like  it  for  the  Greek  Costume  Plate  2,  to  be 
used  as  a  basis  for  it  without  the  border.  The  Fairy  on 
page  191  without  the  wings  can  be  used  for  a  Roman 
Girl.  Both  girls  and  women  wore  their  hair  bound 
about  the  head.  It  was  only  very  little  girls  who 
wore  it  loose.  The  Roman  women  wore  woolen  man- 
tles for  the  Winter  which  were  cut  in  a  large  square 
and  wrapped  them  from  head  to  heel.  The  following 
books  will  give  illustrations  of  Roman  costumes: 
Illustrations  of  Greek  Roman  and  Egyptian  Costumes^ 

^  The  purple  of  the  ancients  was  a  Phcenician  dye  more  like  scarlet  than 
like  our  modem  purple. 


COSTUMES  OF  GREAT  BRITAIN  27 

by  Baxter;  The  Story  oj  Rome,  by  MacGreggor,  to  be 
found  in  the  children's  room  of  most  libraries;  Land- 
marks of  British  History,  by  Lucy  Dale;  The  Bankside 
Costume  Book;  Meyer's  General  History,  Illustrated; 
Guizot's  History  of  France,  the  first  three  volumes. 
If  the  amateur  producer  is  living  in  a  small  hamlet  or 
out-of-the-way  place  where  the  books  mentioned  here 
cannot  be  had,  a  glance  at  the  encyclopedia  imder  the 
names  of  the  various  Roman  Emperors,  Pompey, 
Caesar,  Nero,  Cahgula  will  often  discover  accompany- 
ing plates.  If  an  encyclopedia  cannot  be  had,  let  the 
producer  look  in  the  back  of  any  large  dictionary 
under  Mythology  and  good  ideas  for  costume  can  be 
found. 

Costumes  of  the  Ancient  Gauls 

The  men  of  Gaul  had  white  tunics,  knee  length, 
breastplates,  shield  and  helmets  of  armor.  The  hel- 
met had  smaU  wings  like  a  Viking's  helmet.  A  skin 
was  fastened  at  their  shoulders  like  a  mantle.  Their 
hair  was  long.  Women  wore  long  white  tunics,  and 
mantles  of  skins.  Their  hair  was  worn  in  two  long 
braids.    Children  wore  tunics.    See  Guizot's  France. 

Costumes  of  Great  Britain 

More  space  will  be  devoted  to  the  costumes  of  the 
Britons  than  to  that  of  any  other  nation  because  more 


28  COSTUMES 

plays  in  current  use  are  laid  in  Britain  than  in  any 
other  ancient  country.  Moreover,  what  was  worn 
in  Britain  was  worn  with  only  sHght  differences  in 
France,  Holland,  Germany,  and  Italy.  The  outlines 
of  the  costumes  were  more  or  less  the  same  in  all  these 
countries.    It  was  in  the  details  that  they  differed. 

The  earliest  costumes  of  the  ancient  Britons  were 
the  skins  of  wild  beasts.  These  were  fastened  with 
thongs  at  the  shoulders,  and  hung  to  the  knee.  They 
were  like  rude  tunics,  but  tunics  without  side  seams  or 
sleeves.  The  arms  and  legs  were  bare — often  stained  a 
bright  blue,  though  this  historical  detail  is  too  grotesque 
for  amateur  plays.  The  hair  was  worn  long,  and  the 
beard  also.  Both  were  rough  and  matted.  The  women 
wore  the  skin  tunics  also.  There  was  no  difference 
between  the  dress  of  men,  women  and  children.  All 
wore  the  skins  of  beasts.  The  hair  of  the  women  fell 
loose  about  their  shoulders,  and  was  perhaps  a  shade 
less  shaggy  than  that  of  the  men.  Neither  men  nor 
women  wore  any  adornment. 

The  real  tunic  came  into  England  with  the  coming 
of  the  Romans,  50  B.  C.  It  was  roughly  made  and 
was  of  coarse  material — ^almost  as  coarse  as  potato 
sacking.  It  came  in  white,  and  in  crude  blue  and  red, 
and  in  brown.  It  was  at  first  very  plain,  without 
border  or  ornamentation.  Since  the  tunic  of  skins 
had  been  abandoned  the  Britons  needed  warmth,  and 


COSTUMES  OF  GREAT  BRITAIN  29 

often  wore  the  skin  of  a  wild  beast  hanging  from  their 
shoulders,  much  in  the  fashion  of  the  ancient  Gauls. 
(See  Costumes  of  the  Ancient  Gauls.)  But  the  early 
Britons  wore  no  helmets.  The  hair  fell  loose  over  their 
shoulders.  They  either  wore  beards,  or  shaved  their 
faces  after  the  fashion  of  the  Romans.  The  upper 
classes  by  degrees  discarded  the  mantle  of  skins,  and 
adopted  a  short  woolen  cloak  made  of  straight  lengths 
of  cloth.  Women  wore  tunics  coming  to  the  ankle. 
Peasant  women  wore  skins  fastened  to  the  shoulders 
in  cold  weather;  women  of  rank,  the  crude  woolen 
cloak.  Gradually  both  peasants  and  gentlewomen 
adopted  the  cloak  as  their  one  means  of  protection 
against  the  cold.  Up  to  the  end  of  the  Fourth  Century 
these  primitive  costumes  were  worn.  The  following 
books  will  give  ideas  of  them:  Strutt's  Dress  and 
Habits  of  the  People  of  England,  The  Bankside  Costume 
Book;  Landmarks  of  British  History,  by  Lucy  Dale. 

By  the  fifth  century — 400 — costume  had  made  a 
great  advance  as  to  cut,  color  and  material.  The 
dress  of  the  nobles  had  been  greatly  enriched,  while 
the  dress  of  the  peasants  was  still  very  crude.  Through- 
out these  early  times  the  dress  of  the  peasants,  men, 
women  and  children  would  remain  the  same  for  cen- 
turies, while  the  dress  of  the  nobles  and  ladies  changed. 

The  short  tunic  was  at  times  worn  by  all  classes, 
but  the  long  tunic  denoted  rank.     The  tunic  might 


30  COSTUMES 

really  be  said  to  be  the  national  garment.  The  peasants 
and  tradesfolk  always  wore  the  short  tunic.  The  long 
tunic  was  worn  by  the  nobility,  and  the  Kings.  It 
fell  in  graceful  folds  to  the  ankles.  No  peasant  mig'it 
wear  it,  but  the  noble  might  wear  the  short  tunic  if  he 
chose. 

The  easiest  way  to  call  the  dress  of  the  fifth  and 
sixth  centuries  to  mind  is  to  say  that  it  was  the  time 
of  King  Arthur  and  his  Knights,  and  to  copy  the 
Copley  Prints  of  King  Arthur  and  his  Knights,^  by  Ab- 
bey. All  men  of  gentle  blood  now  wore  mail  cover- 
ing them  from  head  to  heel,  and  over  this  they  wore 
either  the  long  or  short  tunic  in  linen,  or  in  fine  silk. 
Shields  were  long  and  bore  a  coat  of  arms.  For  house 
wear  the  tunic  with  sleeves  had  come  in,  and  these 
sleeves  were  usually  loose  and  flowing.  Peasants  wore 
tunics  coming  to  the  knee,  and  wound  strips  of  cloth 
about  them  for  cloaks. 

Women  wore  a  long  tunic-like  dress  falling  to  the 
floor,  with  a  long  cord  about  the  waist.  This  cord 
might  be  gold  or  silk.  Their  sleeves  were  the  type 
known  as  angel  sleeves.  The  hair  was  braided  in  long 
braids,  sometimes  interwoven  with  pearls.  It  was 
covered  with  a  vefl,  bound  about  the  brows  with 


^  Copley  Prints  can  be  obtained  from  Curtis  and  Cameron,  Boston, 
Mass.  Reproductions  of  some  of  them  may  be  seen  in  The  Craftsman 
for  Oct.  1911. 


COSTUMES  OF  GREAT  BRITAIN  31 

a  circlet.  The  Abbey  pictures  will  show  these  cos- 
tumes. Watt's  picture  of  Sir  Galahad  is  another  good 
type  to  copy.  Pictures  may  also  be  found  in  the  fol- 
lowing: Strutt's  Dress  and  Habits  of  the  People  of  Eng- 
land; Meyrick's  Ancient  Armor. 

In  the  seventh,  eighth,  ninth,  and  tenth  centuries, 
that  is,  from  600  to  800,  the  tunic  was  worn,  either 
long  or  short,  belted  at  the  waist.  A  tunic  with  sleeves 
was  sometimes  called  a  surcoat.  The  mantle  of  the 
Saxons  varied  very  much,  and  great  liberty  may  be 
allowed  the  producer  in  designing  its  shape.  It  may 
be  square  or  round,  long  or  short,  but  it  must  be  of  a 
solid  color.  It  should  be  wrapped  round  the  wearer 
when  he  is  out  of  doors,  and  should  fall  about  him  in 
loose  graceful  folds  when  he  is  indoors.  It  should  be 
fastened  with  a  febula  or  brooch  on  the  right  shoulder. 
Foot  gear  was  composed  of  low  sandal-like  shoes, 
which  covered  the  foot,  and  were  fastened  with  bands 
of  cloth  or  linen.  These  bands,  for  peasant  wear  in 
cold  weather,  were  criscrossed  to  the  knee,  and  afforded 
as  much  protection  as  a  stocking  would.  Also  the 
tabard  came  in  in  these  centuries  and  was  worn  both 
by  nobles  and  tradesfolk.  It  was  a  garment  fastened 
on  the  shoulders,  open  at  the  sides,  and  coming  to  the 
knee,  or  to  the  ankle.  Under  it  was  worn  a  sleeved 
tunic. 

From  the  seventh  to  the  tenth  centuries  women 


32  COSTUMES 

wore  a  kind  of  tunic  dress  fitting  more  closely  than  in 
the  earlier  centuries,  and  coming  to  the  floor.  Also  the 
hair  was  covered  with  a  long  veil  or  Ught  silk  or  cloth 
which  fell  over  the  rest  of  the  costume.  Besides  this 
they  wore  a  kind  of  tabard  dress,  with  a  sleeved  tunic 
under  it. 

Children  of  high  and  low,  rich  and  poor,  wore  short 
timics,  and  the  children  of  nobles  wore  the  tabard  made 
in  rich  stuffs.  Their  hair  was  "bobbed"  much  as  it  is 
to-day,  for  boys  and  girls  alike. 

Pictures  of  these  centuries  may  be  found  in  the  fol- 
lowing books:  Guizot's  Illustrated  Histories  of  France 
and  England;  Strutt's  Dress  and  Habits  of  The  People 
of  England;  Le  Costume  Historiqiie,  by  Racinet;  Mey- 
rick's  Ancient  Armor. 

With  the  eleventh  century  (1066)  there  are  the  pic- 
tures of  the  Norman  Conquest  to  follow,  with  WiUiam 
the  Conqueror  and  his  Knights.  The  tunic,  long  or 
short,  was  still  worn,  and  it  was  still  loose  and  full. 
Rich  bands  of  gold,  silver,  embroidery  or  fur  were  now 
used  to  ornament  the  tunics  of  the  nobihty.  Apart 
from  ornamentation,  which  the  peasants  never  wore, 
there  was  not  a  great  difference  between  the  dress  of 
peasants  and  nobihty  in  line  and  cut. 

With  the  twelfth  century — (i  100)  there  was  a  greater 
variety  of  costume.  The  long  tunic,  ankle  length,  and 
associated  with  King  John  and  Macbeth,  was  now  worn 


COSTUMES  OF  GREAT  BRITAIN  33 

by  the  nobles,  with  cloaks  for  outdoor  wear.  Women 
wore  the  dress  associated  with  Lady  Macbeth,  if  they 
were  women  of  rank.  Armor  was  worn  by  knights, 
and  covered  with  a  long  or  a  short  tunic  as  pleased 
their  fancy.  It  was  the  time  of  the  Crusades,  and  the 
tunics  of  Crusaders,  worn  over  their  armor,  had  a 
large  red  cross  on  the  breast.  The  timic  on  page  in, 
with  a  red  cross  on  it,  could  be  worn  by  a  crusader. 

Peasants  wore  a  short  timic,  with  a  leather  girdle, 
and  soft  ankle  boots.  These  can  be  imitated  by  wear- 
ing black  socks.  Tights  were  now  worn  by  the  peas- 
antry and  yeomanry.  It  was  the  century  of  Richard 
Coeur  de  Lion,  of  Blondel,  and  of  Robin  Hood.  Tunics 
for  the  yeomanry  might  be  the  regular  tunic,  or  might 
open  down  the  front  over  a  linen  shirt,  and  become  a 
sort  of  coat.  (See  picture  on  page  112.)  Men  peasants 
sometimes  wore  their  heads  covered  with  a  covering 
like  that  of  the  peasant  woman  on  page  115.  So  did 
yeomen.  Or  they  might  wear  the  head  covering  given 
with  Robin  Hood. 

Peasant  women  now  began  to  wear  tight  bodices, 
and  round,  somewhat  full  skirts,  like  the  woman  on 
page  115.  A  leather  girdle  and  pouch  bag  were  worn 
with  it.  The  head  was  covered  as  in  the  picture.  This 
costume  continued  to  be  worn  by  peasant  women  until 
the  middle  of  the  fifteenth  century.  These  costumes 
were  worn  by  little  peasant  girls  also. 


34  COSTUMES 

The  children  of  the  twelfth  century  copied  the  cos- 
tumes worn  by  their  elders.  Children  of  noble  birth 
copied  the  costumes  worn  by  the  nobility.  Children 
of  peasant  birth  copied  peasants. 

Books  from  which  these  costumes  may  be  copied  are: 
Robin  Hood,  by  Henry  Gilbert,  illustrated  by  Walter 
Crane;  The  Bankside  Costume  Book;  Guizot's  History 
of  France;  Meyrick's  Ancient  Armor. 

From  the  end  of  the  thirteenth  to  the  end  of  the  fif- 
teenth centuries  (i  290-1400)  the  costume  for  English 
Kings  and  noblemen  was  the  tunic  (i.  e.,  paltock),  either 
long  or  short,  as  best  pleased  them.  It  might  be  short  as 
on  page  119,  or  it  might  come  to  the  knee  or  the  ankle. 
The  tabard,  described  on  page  31  was  also  worn.  Tights 
were  universally  worn  by  the  nobles  and  by  peasant  men. 
Soft  low  shoes,  such  as  are  pictured  on  page  119,  were 
worn,  or  high  shoes  as  in  the  picture  on  page  112.  Tall 
peaked  caps,  round  caps  with  a  quill  on  one  side,  or  soft 
brimmed  caps  turned  up  at  one  side  with  a  quill  as 
on  page  112  were  most  in  vogue.  The  cap  on  page  112 
was  more  often  worn  by  yeomen  than  by  noblemen, 
however.  Besides  a  long  tight  undersleeve  as  on 
page  119,  there  was  a  flowing  over  sleeve,  to  be  seen  on 
the  same  page.  When  this  was  cut  in  scallops  round 
the  edges  it  was  called  a  "dagged"  sleeve.  In  England 
the  peasantry  might  not  wear  "dagged"  or  hanging 
sleeves.    They  were  for  the  upper  classes  only.    Re- 


COSTUMES  OF  GREAT  BRITAIN  35 

member  this  in  costuming  plays.  Knights  wore  armor, 
as  on  page  iii,  with  tmiics  of  richly  trimmed  silk  or 
velvet. 

Through  the  thirteenth,  fourteenth  and  fifteenth 
centuries  there  was  very  Httle  change  in  the  dress  of 
peasants.  Men  wore  the  tunic  as  pictured  on  page  119, 
without  sword  or  embroidery.  Yeomen  wore  the  cos- 
tume pictured  on  page  112.  Peasants  never  wore  the 
long  timic.  Strict  rules  of  dress  governed  the  peasant 
class. ^  From  1330  till  1556 — that  is,  from  the  reign  of 
Edward  Third,  until  the  eighth  year  of  Queen  Eliza- 
beth's reign — these  rules  governed  peasant  costume. 
Peasants  and  servingmen  might  trim  their  tunics  with 
"lamb's  fur"  as  it  was  called,  or  rabbit's  fur.  But 
they  might  not  wear  ermine,  miniver,  sable,  silk,  or 
gold  embroidery  under  penalty  of  punishment.  No 
servant  might  wear  silver  or  gold  either  in  trimming 
or  by  way  of  ornament. 

Crimson  or  blue  velvet  was  for  the  attire  of  Knights. 
Only  they  and  the  folk  of  royal  blood  might  wear  it. 
No  one  except  royalty  might  wear  doth  of  gold.  Scarlet 
and  purple  were  for  royalty  also,  and  were  worn  on 
occasions  of  state.  Ermine,  silk,  velvet,  miniver, 
sable,  and  rich  embroideries  were  for  the  nobility. 
Apart  from  the  nobiUty,  only  the  clergy  were  allowed 
to  wear  such  furs  as  sable  and  ermine. 

'  These  were  called  Sumptuary  Laws. 


36  COSTUMES 

The  peasants  wore  coarse  materials,  and  plain  colors. 
Where  the  nobles  wore  embroidery  the  peasants  wore 
leather,  leather  girdles,  leather  pouches,  etc. 

The  dress  of  ladies  of  rank  during  these  centuries 
(i  290-1400)  is  indicated  on  page  120.  They  wore 
long  robes  bordered  with  fur  or  embroidery.  Tight 
sleeves,  or  tight  sleeves  with  a  "dagged"  over-sleeve. 
A  girdle  of  gold  or  silver,  or  a  cord  of  gold,  or  a  rope 
of  pearls  was  worn  about  the  waist.  The  hennin,  or 
steeple  head-dress  was  worn.  It  was  made  of  gauze  or 
silk,  and  lined  with  some  thin  stiff  material — ^probably 
canvas.  A  veil  was  draped  over  it,  and  floated  behind 
it.  There  was  great  latitude  in  the  draping  of  this.  A 
cloak  of  fur  or  velvet  was  worn  for  the  out  of  doors. 
Shoes  were  low  and  soft,  shaped  like  the  man's  shoe 
on  page  119.  The  fur  and  embroidery  edging  the  robe 
was  an  indication  of  the  wearer's  rank.  No  woman, 
unless  noble  by  birth,  might  use  ermine  or  miniver. 

The  costume  of  the  peasant  women  varied  very 
little  from  1 290-1490.  It  was  on  the  same  general 
lines  as  the  peasant  dress  on  page  115.  In  the  fifteenth 
century  it  might  be  worn  without  the  head  covering  if 
desired. 

There  is  a  great  variety  of  books  covering  the  cos- 
tumes of  these  centuries  and  a  full  list  of  them  is  given 
here  because  amateurs  play  so  many  dramas  laid  in 
mediaeval  times.    First  and  foremost  there  is  Jeanne 


COSTUMES  OF  GREAT  BRITAIN  37 

D^ArCj  by  Boutet  de  Monvel,  a  book  giving  most  varied 
pictures  of  armor,  chain  and  plate,  of  long  and  short 
tunics,  of  the  dress  of  great  ladies  and  of  peasants.  It 
is  absolutely  invaluable.  There  are  two  books  on  the 
Canterbury  Pilgrims  with  fine  illustrations:  The 
Canterbury  Tales,  by  Percy  Mackaye  with  lovely 
illustrations  in  color  by  Walter  Appleton  Clark;  and 
even  better  pictures  from  the  costmne  point  of  view 
may  be  found  in  The  Modern  Reader^ s  Chaucer,  by  Tat- 
lolk  and  Mackaye,  with  pictures  by  Warwick  Goble. 
There  are  other  beautiful  pictures  in  Tales  from  the 
Pentamarone,  illustrated  by  Warwick  Goble,  richly 
imaginative  in  line  and  color.  The  Guild  of  Play  Books, 
by  G.  T.  Crimjnins,  give  illustrations  of  the  folk-dance 
costumes  that  were  worn  in  England  from  the  earHest 
times.  Then  Guizot's  History  of  France,  with  its  illus- 
trations by  Alphonse  de  Neuville  must  be  mentioned 
again,  because  it  gives  not  only  costume,  but  mediaeval 
interiors,  and  furniture  as  well  as  outdoor  scenes. 
Mediaeval  head-dresses  are  given  in  Chats  on  Costumes 
by  Wolliscrof t.  For  ecclesiastical  dress  see  Dictionnaire 
des  Ordres  Religeux,  by  Heylot. 

The  costume  for  men  in  the  sixteenth  century  (1500) 
and  the  costume  for  women  underwent  a  great  change. 
For  the  first  time  since  the  Romans  landed  the  tunic 
lost  its  hold.  The  doublet  came  in,  and  sleeves  were 
full  and  slashed  and  puffed.    For  the  nobles  simplicity 

Gi002 


38  COSTUMES 

of  attire  gave  way  to  ornamentation.  The  long  cloak 
for  men  was  abandoned.  The  short  cloak  held  sway. 
A  new  sort  of  cap  with  a  plume  came  in.  There  were 
ruffs  for  the  neck.  The  costume  for  men  may  be  seen 
on  page  123.  This  is  a  noble's  costume.  The  same  cos- 
tume in  coarse  materials,  without  ornamentation  and 
without  the  cloak,  was  worn  by  peasants.  Brocades 
and  silks  were  worn  by  royalty  and  gentry,  serge  and 
unbleached  linen  shirts  were  worn  by  the  peasantry. 
Instead  of  ruffs  the  peasants  wore  flat  linen  collars,  or 
no  collars  at  all.  Leather  jerkins  were  worn  by  the 
yeoman — that  is,  a  kind  of  leather  tunic,  worn  over 
a  shirt  with  puffed  sleeves. 

For  women  of  rank,  and  the  rich  middle  class,  skirts 
were  bell-shaped,  and  opened  over  a  petticoat.  (See 
picture  on  page  127.)  There  were  tight,  pointed  bodices 
with  long  tight  sleeves.  Sometimes — ^for  daytime 
wear — these  bodices  went  high  up  to  the  throat  and 
there  was  a  ruff  of  lace  and  linen,  or  they  might  be 
cut  low,  and  have  a  great  lace  ruff  standing  out  fanlike 
back  of  the  neck.  To  say  the  words  Shakespeare, 
Queen  Elizabeth,  Sir  Walter  Raleigh,  should  recall  the 
costume  of  the  middle  and  last  of  the  century  with 
its  rich  brocades  and  velvets.  For  state  occasions 
women  waved  their  hair  and  did  it  up  on  their  heads. 
It  had  strands  of  pearl  and  gold  bound  about  it.  For 
the  daytime  there  were  caps  of  velvet,  silk,  or  muslin 


COSTUMES  OF  GREAT  BRITAIN  39 

edged  with  gold,  pearls,  or  fur.  All  women,  rich  and 
poor  alike,  covered  their  hair  with  a  cap  be  it  ever 
so  magnificent  or  humble. 

The  costume  on  page  115  may  be  used  as  a  basis  for 
the  costume  of  a  peasant  woman  of  the  sixteenth  cen- 
tury. Take  off  the  head  covering,  have  the  bodice 
come  up  to  the  throat,  or  cut  the  neck  low  and  round. 
Take  off  the  leather  girdle  and  pocket,  and  substitute 
an  apron,  and  the  peasant  will  be  of  the  sixteenth 
century.  It  was  in  this  century  that  the  apron  came 
in.  The  costume  may  be  worn  without  the  apron,  to 
give  variety. 

Children's  costumes  in  the  sixteenth  century  were 
copied  after  their  elders.  The  boys  wore  doublet  and 
hose,  sleeves  slashed  and  puffed.  There  was  rich  cloth, 
silk  and  velvet  for  the  children  of  nobles  and  the  rich 
middle  classes.  Poor  boys  wore  coarse  material.  The 
costume  for  a  man  on  page  123  may  be  copied  for  boys, 
only  for  children  of  peasants  and  tradesmen  omit  the 
cloak.  It  was  only  worn  by  sons  of  nobles  and  court 
pages.  The  costumes  for  little  girls  of  noble  birth 
may  be  copied  from  the  picture  of  a  lady  on  page  127. 
They  wore  the  under  petticoat  and  the  bell  skirt,  in 
stiff  brocades  and  satins.  Their  hair  was  done  on  their 
heads  as  the  hair  of  the  lady  is  done.  They  were  an 
exact  imitation  of  older  women.  But  little  peasant 
girls   had   more  choice  of   costmne.     They  may  be 


40  COSTUMES 

dressed  as  the  little  girl  on  page  199,  without  the  hanging 
sleeves.  Or  they  may  have  their  costumes  copied 
after  the  peasant  woman  described  two  paragraphs 
back.  They  seldom  wore  aprons,  so  that  detail  may 
be  omitted.  The  dresses  of  peasant  girls  escaped  the 
ankles,  and  left  them  free  to  romp  and  run — a,  privi- 
lege not  given  to  little  girls  of  high  degree,  whose  stiff 
long  petticoats  impeded  them.  All  httle  girls  wore 
caps,  whatever  their  rank.  But  whether  the  caps  of 
active  hardy  little  peasant  girls  stayed  on  is  a  matter 
for  conjecture. 

While  the  costumes  of  the  sixteenth  century  in  Eng- 
land and  on  the  Continent  had  certain  National  dif- 
ferences, it  was  a  difference  of  detail  and  not  of  out- 
line. Therefore  the  costumes  indicated  here  were  the 
costimies  of  France,  Italy,  Germany,  Spain,  Flanders, 
Holland.  The  following  books  wiU  give  additional 
pictures  of  costmnes:  Strutt's  Dress  and  Habits  of  the 
People  of  England;  Bennet's  Young  Master  Skylark ^ 
with  illustrations  by  Birch;  Historic  Dress  of  the  British 
Soldier,  by  Luard;  also  Albrecht  Durer,  by  H.  Knack- 
fuss;  The  Dance  of  Death,  by  Holbein,  for  costumes  on 
the  continent  from  1471  to  1543. 

With  the  sixteenth  century  America  appears  on  the 
scene,  and  therefore  the  costumes  for  the  next  centuries 
which  were  alike  in  America,  England  and  the  Con- 
tinent will  be  given  under  the  heading:  "Costume  in 


COSTUMES  IN  AMERICA  41 

America    from    the    Earliest    Times    to    the    Civil 
War." 

Eighteenth  Century 

The  civilian  dress  of  America  and  England  differed 
very  little.  For  the  Military  dress  of  the  English 
during  the  American  Revolution,  see  costume  Plate  21, 
where  an  EngHsh  Officer  and  an  EngUsh  soldier  will  be 
found.  The  following  books  will  also  be  found  useful: 
Historical  Dress  of  the  British  Soldier,  by  Luard,  and 
histories  of  England  have  pictures;  Costumes  in  Eng- 
land, by  F.  W.  Fairholt  is  good.  There  is  also  Sardou's 
Collection  of  Eighteenth  Century  Costumes,  by  A.  E. 
Guillamot. 

Costumes  in  America  from  the  Earliest  Times  to 
the  Civil  War 

The  very  earliest  American  costumes  were  the 
Indian  costumes.  These  varied  with  the  various 
tribes,  just  as  the  costmnes  of  Europe  while  more  or 
less  alike  in  their  outUnes  in  any  given  century  were 
still  touched  with  national  characteristics.  Amateurs 
cannot  hope  to  cope  with  all  these  differences.  They 
must  take  a  composite  Indian  costume.  Men  may 
either  wear  the  Indian  costume  that  prevailed  before 
the  coming  of  the  White  Man — breech  cloth,  wampum 
and  feathers,  or  the  Indian  costume  given  on  page  128. 

With  the  Indians  both  sexes  wore  the  same  ma- 


42  COSTUMES 

terials,  though  not  made  in  the  same  manner.  Dressed 
deerskin,  and  other  hides  formed  the  basis  of  their 
costimaes.    These  can  be  simulated  by  khaki. 

Indian  braves  and  chieftains  wore  the  costiune  given 
on  page  128;  but  the  Indian  braves  might  not  wear  so 
large  and  impressive  a  war  bonnet.  Only  the  Indian 
chieftain  might  wear  that.  KJiaki  costume,  khaki 
moccasins,  beads  for  the  neck,  and  a  gorgeous  head- 
band filled  with  feathers  will  make  the  costume  com- 
plete. 

The  costume  for  an  Indian  Princess,  for  Indian 
maidens  and  squaws  is  given  on  page  131.  It  is  the 
costume  for  an  Indian  Princess  in  the  picture,  because 
it  is  so  elaborately  embroidered.  A  plain  Indian  cos- 
tume on  these  lines,  and  a  bead  headband  and  beaded 
moccasins  should  complete  the  costume.  The  squaws 
may  carry  a  brightly  colored  blanket,  and  so  may  the 
Indian  maidens.  These  blankets  may  be  made  of 
canton  flannel  in  blue  and  purple,  orange  and  jade, 
saffron  and  scarlet,  etc.,  Indian  designs  should  be  ap- 
pHqued  on  them  by  cutting  out  canton  flannel,  and 
stitching  it  to  them.  A  very  great  Princess  like  Poca- 
hontas wore  white  doeskin,  which  should  be  made  on 
the  same  lines  as  that  in  the  picture,  and  of  canton 
flannel. 

Conventional  costumes  for  Indian  children  may  be 
made  by  copying  the  boy's  suit  on  page  132  and  the 


COSTUMES  IN  AMERICA  43 

girl's  dress  on  page  131.  They  are  made  of  khaki,  just 
as  the  older  Indians'  costumes  are.  No  Indian  child, 
boy  or  girl,  should  ever  wear  a  headband  or  feather. 

Other  costumes  for  Indians  will  be  found  in  the  fol- 
lowing books:  The  Book  of  Indian  Braves,  by  Kate 
Dickinson  Sweetser,  and  The  Song  of  Hiawatha,  illus- 
trated by  Frederick  Remington;  Sinopah,  The  Indian 
Boy,  by  J.  W.  Shultz,  illustrated  by  E.  Boyd  Smith. 

The  earliest  dress  of  people  in  America  other  than 
the  Indians  was  of  course  copied  from  the  English. 
The  seventeenth  century  was  a  distinct  departure  in 
style  from  the  sixteenth.  With  the  seventeenth  cen- 
tury (1600)  began  the  period  of  Cavalier  and  Round- 
head— or,  in  other  words,  of  the  followers  of  King 
Charles,  and  of  Cromwell.  Their  costmnes  differed  as 
much  from  the  Elizabethan  costumes  as  they  differed 
from  each  other.  The  restrictions  as  to  peasant's  and 
gentlemen's  costumes  had  vanished;  there  was  now 
not  so  much  a  difference  of  costume  according  to  rank, 
as  difference  according  to  politics  and  reUgious  ad- 
herence. Those  who  followed  Eling  Charles  wore  the 
Cavalier  costume,  those  who  followed  Cromwell,  the 
Puritan  costume.  All  the  other  countries  of  Europe 
wore  the  CavaUer  costimie,  save  Holland,  where  the 
CavaUer  and  Puritan  costumes  were  worn.  Thus  the 
Puritan  costume  is  found  amongst  the  early  Dutch 
Settlers  in  New  York,  and  all  down  the  Mohawk 


44  COSTUMES 

valley.  In  America  the  Cavalier  costume  was  worn 
in  the  South,  but  was  frowned  on  as  the  "devil's 
finery"  in  the  Puritan  North.  A  number  of  Cavaliers 
lived  at  Merr3Tnount,  in  Massachusetts,  and  the  ab- 
horrence in  which  they  were  held  is  vividly  described 
in  Hawthorne's  Maypole  of  Merrymount.  The  Quaker 
costume  was  like  the  Puritan  costume,  save  that  it 
was  worn  in  gray.  The  Pilgrim  costume  was,  of  course, 
like  the  Puritan.  The  Huguenot  costume  was  like  that 
of  the  sixteenth  century,  and  can  be  copied  from  those 
on  pages  123  and  127.  It  should  be  in  dull  colors,  and 
not  in  the  best  condition  as  to  wear,  for  the  Huguenots 
were  fugitives. 

The  Cavalier  costume  is  not  given  in  this  book  be- 
cause few  amateur  plays  require  it,  and  pictures  of  it  can 
easily  be  foimd  in  the  books  which  will  be  mentioned 
later.  The  dress  of  the  cavalier  consisted  of  a  fine 
shirt  of  white  linen,  with  a  lace  collar  known  as  the 
Van  Dyck  now-a-days.  He  wore  fuU  breeches  with 
rosettes  and  hanging  ribbons  at  the  knee  band.  The 
coat  was  of  fine  material,  velvet,  silk,  or  satin.  Some- 
times its  sleeves  were  plain,  as  in  pictures  of  KLing 
Charles.  At  other  times  they  were  slashed,  and  showed 
either  a  lining  of  a  different  color,  or  the  fine  white 
shirt  sleeve  beneath.  This  shirt  sleeve  was  cut  on  the 
lines  of  what  we  to-day  call  a  "bishop  sleeve."  It 
.  was  usually  finished  with  a  frill  of  lace.    Ribbon  love- 


COSTUMES  IN  AMERICA  45 

knots  were  worn  at  the  shoulders.  Sleeveless  leather 
jerkins  were  also  worn,  showing  the  white  shirt  sleeve 
coming  through  the  arm  hole.  Or  the  leather  sleeve 
might  be  slashed  and  show  a  silken  undersleeve.  The 
foot  gear  consisted  of  either  silk  stockings  and  low  shoes 
with  buckles  or  rosettes,  or  boots  that  fitted  tightly. 

The  hats  of  the  CavaHers  had  broad  flaring  brims. 
They  are  imitated  to-day  in  hats  for  ladies  called  "  Cav- 
alier hats."  The  brim  was  rolled  up  at  one  side  and 
fastened  by  either  a  buckle  or  a  rosette.  It  had  a 
sweeping  plume.  Plainer  hats  were  rolled  up  at  the 
side  without  the  plume.  The  hair  of  the  Cavaliers 
swept  over  their  shoulders  in  love  locks.  They  had 
small  up-curling  mustaches,  or  no  mustaches  at  all. 
The  colors  they  wore  were  bright  and  gay.  The  ma- 
terials composing  their  costume  were  fine  lawn  and 
lace,  silk,  velvet,  cloth,  and  leather.  For  amateurs  who 
wish  to  copy  these  costumes,  and  are  restricted  from 
hiring  them,  or  making  them  of  expensive  material, 
canton  flannel  is  a  good  substitute  for  velvet,  and  sateen 
for  satin.  Gymnasium  bloomers,  with  bright  rosettes 
and  ribbons  at  the  knee  band,  soft  white  shirts  with 
bishop  sleeves,  a  sleeveless  jerkin  of  canton  flannel, 
and  uprolled  Cavalier  hat,  and  the  dress  is  complete. 
Leather  may  be  copied  by  having  leatherette,  or  deep 
buff  oilcloth.  The  long  sweeping  cloaks  of  the  Cava- 
liers can  be  copied  for  amateurs  by  having  canton 


46  COSTUMES 

flannel  in  gay  colors,  which  will  have  the  look  of 
velvet. 

The  women  of  the  Royalist  (Cavalier)  party  wore  the 
type  of  dress  indicated  on  page  143,  the  fitted  bodice, 
and  the  full  skirt  falling  in  graceful  folds  to  the  floor. 
The  cap,  edged  with  pearls,  gold,  silver  or  lace,  was 
much  in  vogue. 

The  children  of  Cavaliers  wore  costumes  that  were  a 
copy  of  their  elders.  Boys  wore  the  loose  white  shirt, 
and  full  knee  breeches  with  rosettes.  Girls  wore  dresses 
coming  to  the  floor  as  they  had  in  EHzabeth's  day,  only 
now  the  style  was  different.  No  little  girls  wore  short 
dresses.  For  pictures  of  Cavaliers,  see  iUustrated  edi- 
tions of  Pilgrim^s  Progress,  Richelieu,  by  Theodore 
Cahen;  The  Laughing  Cavalier  by  Franz  Hals,  and 
King  Charles,  by  Van  Dyck;  also  The  Children  of  King 
Charles,  by  Van  Dyck. 

Puritan  and  Pilgrim  dress  for  men  can  be  found  on 
page  135.  The  "pork  pie"  hat  was  of  felt,  or  beaver. 
The  cloak  and  suit  were  of  serge  or  of  the  plainest  cloth, 
or  of  woolen  homespun.  Silk,  satin  or  velvet,  were  never 
worn  by  Puritans,  nor  fur  cloaks,  nor  trimmings  of  any 
kind.  The  colors  were  gray,  dark  blue,  brown,  black, 
and  dull  purple.  The  collars  and  cuffs  were  of  white 
linen  or  muslin.  They  never  wore  lace.  Their  costumes 
were  in  every  way  a  contrast  to  the  Cavalier.  The 
colors  were  sober,  the  cut  plain.    Stout  low  shoes  with 


COSTUMES  IN  AMERICA  47 

or  without  buckles,  and  thick  stockings  were  their 
foot  gear.  Under  their  Puritan  coat  they  wore  a  plain 
white  shirt. 

The  costume  for  a  man-at-arms  of  the  Roundhead 
party  can  be  seen  on  page  139.  This  was  also  the  cos- 
tume for  a  Captain  John  Smith,  or  for  a  guard  of 
Richelieu  of  France.  It  was  a  costume  of  armor  worn 
by  most  of  the  continent,  and  by  England  and  later 
America.  The  armor  and  the  full  knee  breeches  need 
little  description.  They  can  easily  be  copied  by 
amateurs. 

Puritan  and  Pilgrim  women  wore  the  costume  showii 
on  page  136.  With  this  they  wore  a  cloak  similar  to  the 
man's  on  page  135.  The  materials  were  woolen  home- 
spun, cloth  or  serge  for  the  dress,  and  white  lawn  or 
linen  for  the  cuffs  and  kerchief.  The  apron  may  be 
worn,  or  on  occasion  may  be  left  ofif.  It  was  of  white 
muslin.    The  hair  was  hidden  by  the  white  cap. 

Puritan  boys  were  costumed  like  the  men,  save  that 
they  wore  a  small  round  cap  instead  of  a  pork  pie  hat. 
Mostly  they  went  with  their  heads  uncovered.  Little 
Puritan  or  Pilgrim  girls  were  costumed  like  the  women, 
with  long  dresses  and  the  crossed  kerchief.  Their  hair 
was  done  up  on  top  of  their  heads  and  covered  with 
a  white  cap  that  was  exactly  like  what  their  mothers 
wore. 

The  following  books  and  pictures  will  be  found  use- 


48  COSTUMES 

ful  for  their  pictures  of  Puritans,  Pilgrims,  Quakers, 
Early  Dutch  Settlers  and  for  men  at  arms,  whether 
English,  French,  or  Spanish:  Illustrated  editions  of 
Pilgrim^ s  Progress,  by  Bunyan;  illustrated  editions  of 
Longfellow's  Myles  Standish;  Eggleston's  Illustrated 
History  of  the  United  States,  is  especially  good;  also 
The  Man  with  the  Iron  Hand,  by  John  C.  Parish,  with 
illustrations  by  B.  F.  Shambaugh. 

The  Eighteenth  Century 

Men  in  the  early  part  of  the  eighteenth  century  wore 
costumes  differing  in  detail  from  those  of  the  latter 
part,  though  the  colors  and  materials  and  general 
outlines  were  the  same.  In  the  reign  of  Anne,  the 
costume  given  on  page  151  would  have  a  coat  that 
came  to  the  knee,  and  that  instead  of  being  cut  away, 
came  down  straight  from  the  waistcoat.  The  cuffs  on 
the  coat  sleeves  should  be  very  wide — should  in  fact 
come  halfway  to  the  elbow.  The  ruffle  and  jabot  was 
the  same  as  on  page  151.  So  was  the  foot  gear.  But 
the  wig,  instead  of  being  tied  away  from  the  face,  was 
very  large,  curled  in  "sausage  curls"  and  fell  about 
the  shoulders.  Sometimes  the  hair  was  worn  in  its 
natural  color,  being  curled  and  perfumed  merely.  The 
Grande  Monarch  often  wore  it  so.  Again,  it  was  snowy 
with  white  powder.  The  upper  classes  wore  the  curled 
wig.    Poorer  people  had  to  be  content  with  their  own 


THE  EIGHTEENTH  CENTURY  49 

hair,  drawn  back  from  the  face,  and  plaited  into  a 
queue,  with  the  end  very  curly.  Or  the  hair  might  fall 
lank  about  the  face,  straight  and  uncurled,  and  ending 
above  the  shoulders.  The  pictures  of  Benjamin  Frank- 
lin to  be  found  on  one  cent  stamps  show  this  type  of 
hair  dressing  very  plainly.  It  was  the  mode  followed 
by  the  Quakers.  Men  of  fashion  wore  silk  and  velvet, 
and  the  working  classes  wore  the  same  type  in  serge 
and  doth.  Where  men  of  fashion  wore  lace  ruffles, 
servingmen  wore  ruffles  of  unbleached  linen  or  coarse 
white  muslin. 

The  dress  of  the  second  haK  of  the  century  is  shown 
on  page  151.  This  might  be  in  fine  cloth,  or  even  velvet 
for  gentlemen  in  America,  and  in  cloth  and  serge  for 
the  working  classes.  The  military  styles  of  France, 
England  and  the  American  Minute-men  followed  these 
outHnes  with  a  likeness  to  each  other  that  is  surprising. 
A  different  hat,  knapsack,  buttons,  straps,  and  epaulets 
were  worn  by  each  of  the  several  coimtries  just  men- 
tioned, but  the  outlines  of  the  costumes  were  the  same. 
Study  of  the  military  styles  of  the  period  will  show 
how  the  costume  may  be  adapted  to  a  dozen  different 
uses. 

The  dress  of  women  in  the  eighteenth  century  was  of 
two  orders,  the  short  looped-up  skirt  called  a  pannier 
worn  over  a  plain  or  a  quilted  petticoat,  with  a  white 
fischu  and  powdered  hair,  and  the  longer  dress  with  a 


50  COSTUMES 

somewhat  full  skirt  opening  over  a  petticoat  as  is  shown 
on  page  163.  The  short  dress  was  the  one  most  popular 
in  America  before  and  during  the  Revolution,  and  the 
long  dress  was  worn  immediately  after  the  Revolution. 
It  is  often  called  the  Martha  Washington  Costume. 

With  the  short  dress,  for  state  occasions,  were  worn 
silk  stockings  with  clocks,  and  high  heeled  slippers. 
Black  shppers  had  red  heels.  All  shppers  had  buc- 
kles, whether  of  silver,  paste  diamonds,  or  common 
pewter.  People  of  means  wore  silks  and  satins  and 
fine  lawns — India  lawns  they  were  called.  Poorer  people 
wore  muslin,  and  homespun  woolen.  Those  who  fol- 
lowed the  fashion  wore  in  winter  long  coats  with  long 
tight  sleeves  and  big  cuffs  of  fur.  The  coats  were  full 
and  plain,  though  sometimes  they  had  a  watteau  pleat 
in  the  back.  They  fell  to  the  edge  of  the  dress.  They 
might  be  dark  green,  bright  blue,  or  scarlet.  With  them 
was  worn  a  fur  tippet.  Muffs  were  huge;  and  white 
fur  muffs  very  fashionable,  though  only  the  rich  could 
have  ermine  muffs.  Cloaks  were  also  worn — shaped 
like  the  Puritan  cloak  the  man  is  wearing  on  page  135. 
These  were  in  gay  or  dark  colors,  as  pleased  the  wearer. 
Dark  cloaks  were  usually  lined  in  gay  silk.  Hoods  were 
worn  with  these.  Mitts  were  very  fashionable,  par- 
ticularly long  ones,  made  of  lace. 

The  costumes  for  children  in  the  eighteenth  century 
followed  exactly  the  lines  of  the  costumes  of  their 


THE  NINETEENTH  CENTURY  51 

elders.  Boys  were  dressed  like  the  man  on  page  151 
and  girls  like  the  girl  on  page  164  after  the  Revolution, 
but  before  the  Revolution  little  girls  wore  that  type  of 
dress  with  panniers  and  with  the  underpetticoat  only 
coming  to  the  ankle.  Pictures  that  will  be  useful  for  mil- 
itary and  home  dress  are  to  be  fotmd  in  the  following 
books:  Historic  Dress  in  America,  by  Elizabeth  Mc- 
Clellan;  I'hc  Song  of  Sixpence  Book,  illustrated  by 
Walter  Crane;  Dame  Fashion,  by  James  Price  (1786- 
191 2);  Sardou's  Collection  of  Eighteenth  Century  Cos- 
tumes, by  A.  E.  Guillmot;  Illustrated  editions  of  Oliver 
Goldsmith's  Vicar  of  Wakefield;  also  Romney,  by  Hum- 
phry Ward. 

The  Nineteenth  Century 

Men  in  the  early  nineteenth  century,  from  1800  to 
1825  wore  the  dress  we  associate  with  two  famous 
characters,  Napoleon  and  Beau  Brummell.  Napoleon 
adopted  Roman  costume  with  nineteenth  century  dif- 
ferences, imposed  it  on  Europe,  and  the  English,  and 
Americans  copied  it.  It  had  very  few  traces  of  Rome 
as  far  as  men's  costumes  were  concerned,  but  women 
with  their  scarfs,  and  straight  high-waisted  dresses  had 
more  of  a  semblance  to  Rome  than  the  men.  Men 
wore  either  very  tight  fitting  knee  breeches,  and  stock- 
ings without  the  hint  of  a  wrinkle,  or  long  tight  breeches 
— almost  like  tights,  that  came  down  to  the  ankle,  and 


52  COSTUMES 

fastened  with  an  elastic  under  the  instep.  There  was 
a  stock,  for  the  neck,  with  or  without  a  frill  of  lace, 
a  waistcoat,  and  a  cutaway  coat  with  tails.  The 
hats  were  tall  "beavers."  In  France  they  wore  the 
Chapeau  Bras  ^  just  after  the  Revolution,  and  then 
the  Napoleonic  hat.  The  waistcoats  might  be  plain  or 
flowered.  The  "great  coats"  worn  in  cold  weather 
were  like  the  great  coats  of  Napoleon.  America  copied 
the  styles  of  Europe;  but  in  a  conservative  manner. 

The  women  in  the  early  half  of  the  nineteenth  cen- 
tury, or  up  to  1830,  wore  what  is  called  Empire  style, 
copied  after  the  robes  worn  by  the  Empress  Josephine. 
High-waisted  dresses,  in  satin,  thin  silk,  or  silk  muslin 
were  worn  for  "  finery."  Everyday  muslin  was  worn  for 
everyday  clothes.  SUppers  were  of  kid  or  satin,  had 
no  buckles  for  women,  and  were  laced  over  the  instep 
with  straps  such  as  we  associate  with  the  sandals  of 
the  Greeks  and  Romans.  Jewels  were  worn  sparingly. 
A  necklace  and  earrings  were  considered  enough.  Airy 
scarfs  were  in  vogue;  also  shawls  of  soft  materials  and 
colors. 

Children  of  the  early  nineteenth  century  were  dressed 
as  those  on  page  203.  They  wore  Kate  Greenaway 
costumes. 

Costumes  of  the  nineteenth  century  can  be  found  in 
the  following  books:  Beau  Brummel,  by  Clyde  Fitch, 

^  See  Webster's  Dictionary. 


SYMBOLIC  COSTUMES  53 

with  photographs  of  Richard  Mansfield;  The  Life  of 
Napoleon,  by  Ida  M.  Tarbell;  Marigold  Garden,  by 
Kate  Greenaway;  Under  the  Window,  by  KLate  Green- 
away;  The  Young  Minute  Man  of  1812,  by  Tomlinson, 
has  fine  military  costumes. 

Military  Costumes  of  the  Civil  War 

Military  costumes  of  the  Civil  War  can  be  found  in 
the  following  books:  History  of  Costume  in  America,  by 
Elizabeth  McClellan;  Civil  War  editions  of  Harper^ s 
Weekly,  on  file  in  many  libraries;  also  on  file  in  libra- 
ries, Godey^s  Lady  Book,  of  that  period.  Fine  costume 
ideas  can  be  had  from  Ida  Tarbell's  Life  of  Lincoln. 
Also  from  the  following:  The  True  Story  of  U.  S.  Grant, 
by  Elbridge  S.  Brooks;  The  American  Soldier,  by  El- 
bridge  S.  Brooks  (149 2-1 900);  Hero  Tales  from  Amer- 
ican History,  by  Theodore  Roosevelt,  and  Henry  Cabot 
Lodge;  A  Child's  Guide  to  American  History,  by  Henry 
W.  Elson. 

Symbolic  Costumes 

The  symbolic  costumes  for  symbolic  figures  used  in 
pageants  and  festivals  should  be  designed  along  lines 
that  will  readily  convey  to  the  eye  of  the  onlooker  just 
what  the  character  is  meant  to  personify.  The  cos- 
tume should  be  salient  yet  simple.  As  a  rule  symbolic 
costume  should  be  made  like  Grecian  costumes.    The 


54  COSTUMES 

long  lines  and  simple  folds  of  drapery  lend  themselves 
admirably  to  such  costumes. 

Symbolic  costumes  may  be  used  in  a  great  number 
of  ways.  In  pageants  and  city  festivals  the  geographical 
attributes  of  a  city  may  be  shown  as  well  as  its  arts  and 
industries.  A  harbor  city  might  have  its  sea  and  ship- 
ping personified.  Neptune  in  a  pale  sea  green  tunic 
with  bands  of  irridescent  scales  as  a  border  for  it, 
an  irridescent  Viking  helmet,  a  Triton's  three-pronged 
staff,  and  slung  from  a  silver  girdle  a  Triton's  "wreathed 
horn."  Shipping  might  be  in  a  sailor  blue  robe, 
with  a  robe  of  fishnetting  caught  at  each  shoulder 
with  a  silver  anchor.  She  might  carry  a  small  fully 
rigged  ship  in  one  hand.  Instead  of  a  crown  of  stars 
she  might  wear  a  crown  made  of  small  silver  anchors. 

If  a  city  is  a  place  of  iron  foundries,  then  a  stem 
male  figure  clad  in  iron  gray,  with  breastplate,  helmet, 
and  shield  of  iron  would  typify  the  industry. 

Agricultural  pursuits  are  easy  to  symbolize.  Farm- 
ing might  be  a  Hebe-like  figure  with  a  horn  of  plenty. 
A  youth  in  a  white  tunic  leading  blooded  horses  can 
symbolize  stock  raising.  A  shepherd  with  a  tunic  of 
white  wool,  and  a  sheepskin  cloak  can  typify  sheep 
raising. 

The  states,  wearing  costumes  that  symbolize  them, 
are  figures  often  used  in  pageants  and  festivals.  Maine, 
with  its  pine  green,  or  Kansas  with  grain  yellow,  are 


COSTUMES  FOR  CHILDREN'S  PLAYS         55 

examples  of  what  can  be  done  in  this  way.  The  figures 
of  countries — England,  America,  France — can  also 
be  easily  symbolized. 

Father  Time,  the  Hours,  the  Seasons,  Famine, 
Fever,  War,  Peace,  Prosperity,  Joy,  Hope,  Fire,  De- 
struction are  all  figures  that  can  wear  symbolic  dress. 
Suppose  a  village  wishes  to  typify  its  destruction  by 
fire  and  its  rebuilding.  Fire  in  a  dress  of  flame,  red 
and  yellow,  cut  in  leaping  tongues  so  that  it  swirls 
and  dances  as  she  dances,  can  leave  the  scene  to  De- 
struction in  ash  gray,  and  in  turn  Destruction  can  be 
driven  out  by  Hope  in  pale  green,  who  leads  the  settlers 
on  to  begin  rebuilding. 

There  is  nothing  that  cannot  be  symbolized  and 
brought  clearly  before  an  audience  by  the  means  of 
costume,  color  and  line. 

Costumes  for  Children's  Plays 

Correct  and  artistic  costuming  for  children's  plays 
involves  a  knowledge  of  historical  accuracy,  color  and 
material. 

Study  the  best  costume  books,  and  histories  and 
fairy  tales  illustrated  by  well-known  artists.  See  if 
the  author  of  the  play  has  not  given  directions  which  you 
can  follow. 

Historical  accuracy  is  a  rock  on  which  many  amateur 
directors  come  to  grief;  they  are  not  sure  of  their  cen- 


S6  COSTUMES 

turies.  Headgear  and  footwear  are  apt  to  be  of  one 
century  and  costumes  of  another. 

Select  your  costumes  with  reference  to  your  back- 
ground, so  there  will  be  no  color  clash.  Use  scarlet 
and  pink  very  sparingly.  They  put  other  colors  out 
of  countenance.  Do  not  costume  all  your  characters 
in  bright  shades.  It  makes  the  scene  confusing  to  the 
eye.  And  unless  you  are  producing  an  operetta,  do  not 
costume  your  peasants  all  alike,  and  all  in  the  same  colors. 
Take  common  sense  as  your  guide.  Do  not  put  little 
peasant  girls  into  red  velvet  skirts  or  woodcutters  into 
satin  jackets.  Let  them  wear  the  plain  rough  ma- 
terials that  they  would  naturally  have.  Strive  to  have 
your  costumes  appropriate.  Twenty  years  ago  fairies 
were  dressed  in  short  stiff  white  skirts,  and  tight  star- 
spangled  bodices,  but  to-day  we  know  that  there  is 
nothing  stiff  or  starchy  about  a  fairy.  They  are  cos- 
tumed in  soft  cHnging  materials  suggesting  the  twilight 
of  deep  woods,  the  glamour  of  mist  and  moonshine. 
Do  not  put  weary  travelers,  explorers,  or  pioneers 
into  spick-and-span  raiment.  Their  garments  should 
show  the  dust  and  soil  of  travel.  See  that  the  foot  gear 
of  all  the  players  in  one  scene  belongs  to  the  same 
period.  See  that  your  fairies  and  spirits  wear  sandals, 
not  white  high-heeled  slippers  or  high-heeled  slippers 
of  any  sort. 

One  well-known  English  pageant  master  posted  this 


COSTUMES  FOR  CHILDREN'S  PLAYS        57 

sign  where  it  could  be  read  by  all  groups  of  children 
taking  part  in  the  pageant:  ^^Keep  up  your  stockings. 
Have  your  foot  gear  all  alike."  This  might  also  be 
posted  by  the  directors  of  children's  plays. 

Discuss  the  costumes  with  the  child  players  who 
are  to  wear  them.  It  is  perfectly  possible  for  a  cos- 
tume to  have  historical  value,  to  be  in  harmony  with 
its  background,  and  yet  have  emotional  value  as  well. 
A  sinister  figure  might  be  all  in  black,  with  touches  of 
scarlet;  innocency  in  white;  while  a  pale  tender  green, 
like  the  first  touch  of  Spring,  would  be  something 
meant  to  suggest  youth  and  hope.  Woodsy  creatures 
should  wear  wood  colors,  and  so  forth.  Fairies  of  the 
dawn  would  be  in  dawn  color;  twilight  elves  would 
be  in  gray,  the  color  of  the  twilight.  A  morality  play 
recently  produced  by  a  cast  of  amateur  players  had  a 
background  of  deep  cream  color;  the  play  was  laid  in 
the  latter  half  of  the  seventeenth  century.  The  cen- 
tury in  which  the  play  was  laid  naturally  decided  the 
lines  of  the  costumes;  but  to  the  youthful  players  them- 
selves was  left  the  deciding  of  the  color  scheme,  aided 
always  by  suggestions  from  the  director.  "Love," 
said  one  child, "  should  wear  white,  because  the  thoughts 
of  Love  are  always  pure  and  fair."  This  decided  that 
all  the  colors  must  be  symboUcal.  Wisdom,  by  com- 
mon consent,  was  attired  in  deep  purple,  a  royal  color, 
while  another  character.  Grumble,  must  be  all  in  black. 


58  COSTUMES 

since  grumbling  suggested  darkness.  "And  Envy 
should  wear  green,"  cried  another,  "because  people 
are  said  to  be  green  with  envy."  What  color  should 
Vanity  wear?  This  was  a  difficult  question  to  decide. 
Pink,  blue  and  yellow  were  aU  discarded.  "I  think," 
said  one  dark-eyed  girl,  "that  Vanity  should  wear  a 
little  of  every  color."  Thus  an  imitation  brocade  was 
decided  on  for  Vanity.  This  shows  how  symboHc  cos- 
tumes can  be  designed. 

See  that  the  players  wear  their  hair  in  a  mode  that 
corresponds  to  their  costumes.  Do  not  put  modem 
head-dressing  and  ancient  costumes  together.  Study 
authentic  pictures.  The  Greek  women  or  girls  wore 
their  hair  bound  in  a  chaplet.  In  Saxon  times  they 
wore  it  in  two  long  heavy  braids.  In  the  Middle  Ages 
girls  and  women  wore  their  hair  tucked  beneath  a  cap 
or  coif.  In  the  eighteenth  century  it  was  pompadoured 
and  powdered.  Peasants  and  Indian  maidens  would 
naturally  wear  their  hair  in  two  braids.  Woodland 
spirits  and  httle  dryads  would  naturally  wear  their 
hair  flying.  Unless  the  play  is  laid  in  the  present  time 
or  in  the  days  of  the  Civil  War,  never  put  hair  ribbons 
on  the  children.  Above  all,  never,  never  put  them  on 
spirits,  fairies,  court  ladies,  Greek  maidens,  Puritans, 
Indians  or  Colonials. 

Do  not  mix  the  costumes  of  two  centuries.  Unless 
otherwise  indicated,  keep  the  lines  of  the  costumes  soft 


COSTUMES  FOR  CHILDREN'S  PLAYS        59 

and  flowing.  Do  not  bunch  the  costumes  of  fairies  and 
spirits  with  too  many  petticoats. 

Make  the  simple  costumes  yourself.  They  will 
have  better  material,  hues,  and  color  than  those  ob- 
tainable from  costumers.  If  you  wish  to,  dye  them  the 
desired  shades,  although  the  color  range  of  what  you 
can  buy  is  now  much  larger  than  formeriy. 

For  materials  the  simplest  weaves  will  do  as  well  as 
the  most  ornate.  Use  cheesecloth  for  thin  materials 
such  as  fairy  dresses  and  Greek  robes.  Use  cambric 
and  silesia  to  simulate  satin,  cotton  crepon  or  silk 
crepon,  where  a  softer  and  heavier  material  than  cheese- 
cloth is  needed.  Use  silkoline  for  flowered  silk.  Use 
burlap  for  rough  peasant  suits  or  tunics,  hop  sacking 
for  others.  White  cotton  batting  with  black  tails 
basted  on  it  makes  ermine.  For  mediaeval  costumes  the 
pictures  in  illustrated  editions  of  Guizot's  Histories  of 
France  and  England  will  be  found  invaluable.  Also 
Boutet  de  Monvel's  Jeanne  D'Arc,  and  good  illustrated 
editions  of  Pilgrim's  Progress  contain  pictures  of  cos- 
tumes that  can  be  easily  copied.  For  Grecian,  mytho- 
logical, and  neo-grecian  costumes,  The  Wonder  Book, 
by  Hawthorne,  with  illustrations  by  Walter  Crane, 
has  some  very  charming  examples.  For  different 
periods  of  American  costume  try  Eggleston's  Illustrated 
History  of  the  United  States,  and  Costume  in  America, 
by  Elizabeth   McClelland.     All   the  books  of  fairy 


6o  COSTUMES 

tales  edited  by  Andrew  Lang  have  delightful  fairy 
costumes  in  them.  For  costumes  of  the  Holy  Land, 
see  The  Castle  of  Zion^  by  George  Hodges,  with  illus- 
trations. The  Copley  Prints  of  the  Holy  Grail,  by 
Abbey,  will  suggest  the  costimies  for  the  Court  of 
Arthur  and  his  Knights.  The  Arabian  Nights,  illus- 
trated by  Maxfield  Parrish  has  imaginative  ideas  for 
Arabian  costumes. 


SCENERY 


SCENERY 

There  are  three  kinds  of  scenery.  Painted  scenery, 
with  a  backdrop  (back  curtain)  and  wings  (side  pieces). 
Screen  scenery,  which  may  be  either  painted  or  draped 
with  a  neutral  tinted  fabric.  Curtain  scenery,  or 
scenery  composed  wholly  of  draperies.  These  three 
kinds  of  scenery  will  be  discussed  in  their  order  in  the 
present  chapter.  By  choosing  any  one  of  them  there 
is  absolutely  no  reason  why  the  most  meager  or  the 
most  badly  shaped  stage  cannot  be  remedied.  The 
most  obscure  townhall,  or  the  most  cramped  public 
school  auditorium  need  not  go  without  scenery  any 
more  than  the  college  or  the  city  dramatic  club  need 
go  without  it.  Moreover,  the  scenery  discussed  here 
can  be  made  to  suit  all  purse  strings.  For  those  with  a 
little  money  to  equip  their  stage  there  is  the  painted 
scene.  For  those  with  less  money,  or  with  a  stage 
which  scenery  will  not  fit,  there  is  curtain  scenery. 
And  for  those  with  very  Httle  money  there  is  screen 
scenery.  For  the  school  or  settlement  that  must  fairly 
coimt  its  pennies  there  are  the  draped  screens — the 
very  cheapest  scenery  that  can  be  had  anywhere,  and 
yet  perfectly  adequate. 

63 


64  SCENERY 

Before  a  committee  chooses  its  scenery  it  is  well  to 
look  at  its  stage,  and  see  which  kind  will  suit  its  angles 
best.  To  choose  the  materials  and  the  color  for  it  is 
the  next  step. 

Painted  Scenery 

In  dealing  with  painted  scenery  it  must  be  kept  in 
mind  that  the  huge  stumbling  block  in  the  way  of 
amateurs  is  perspective  and  again  perspective.  Few 
and  far  between  are  the  amateur  scene  painters  who 
can  cope  with  it.  Because  of  this  difficulty  most  of 
the  scenes  given  in  this  book  have  no  perspective  at  all. 
With  this  stiunbling  block  removed  the  amateur  may 
go  ahead,  and  paint  Sherwood  Forest,  or  a  Fairy  Palace. 
The  great  simplicity  that  is  the  hall-mark  of  the  new 
stage  art  is  easily  within  his  reach.  Scenery  needs 
only  a  few  decorative  details  to  convey  its  meaning. 
People  can  readily  be  shown  that  it  is  not  necessary 
to  clutter  a  scene  in  order  to  convey  the  effect  of  a 
palace.  Simple  lines  and  draperies  will  do  it  quite  as 
well.  It  is  perfectly  possible  for  amateurs  to  fashion 
their  own  scenery  if  it  is  simple. 

Since  the  technical  word  cyclorama  will  occur  a 
number  of  times  in  the  present  volume,  it  might  be  as 
well  to  explain  what  the  cyclorama  is,  before  going 
further.  It  is  meant  to  serve  the  same  purpose  as  the 
horizont  described  on  pages  8,  9.    A  backdrop  is  flat. 


PAINTED   SCENERY  65 

A  cyclorama  is  curved.  It  is  a  semi-circle  inclosing 
the  stage,  and  generally  made  of  cloth.  It  gives  the 
effect  of  a  real  horizon.  For  that  reason  followers  of 
the  new  stage  art  prefer  it  to  the  backdrop,  for  it  has 
a  greater  power  of  illusion,  if  skillfully  managed.  It 
can  be  made  by  hanging  scantily  gathered  curtains  of 
cloth  from  a  semicircular  iron  shaft.  These  curtains 
should  reach  from  the  floor  of  the  stage  to  a  point  well 
above  the  audience's  line  of  vision.  The  top  of  the 
cyclorama  must  not  be  seen.  The  cloth  may  be  delicate 
blue  to  suggest  the  sky,  or  it  may  be  white  flooded  with 
varying  lights.  It  is  only  practicable  for  outdoor  scenes, 
and  can  be  used  as  a  background  for  houses,  towers, 
trees,  temples,  etc.  It  is  not  feasible  for  a  deep  forest, 
however.  For  mysterious,  fairy-Uke  scenes  wonderful 
effects  may  be  gained  by  having  a  semi-transparent 
cyclorama.  In  this  case  the  cyclorama  is  hung  with 
semi-transparent  curtains  three  deep.  For  these  cur- 
tains yeddo,  a  thin  cream  colored  bunting,  can  be 
bought  by  the  piece  for  four  cents  a  yard.  (It  should  be 
creped  before  it  is  used  by  wringing  it  out  of  cold  water, 
twisting  it,  and  letting  it  dry.)  Back  of  this  cyclorama 
may  be  castles  set  on  hills,  vistas  of  trees,  fairy  portals, 
and  the  like,  cut  out  of  compo  board.  The  spot  light 
is  placed  behind  them  so  that  they  are  reflected  into 
the  curtains  in  silhouette.  There  are  no  footlights  used 
with  these  effects.    All  the  light  comes  from  the  back 


66  SCENERY 

of  the  stage,  and  things  must  not  be  too  distinctly 
seen.  As  to  how  much  Ught,  and  where  it  is  to  be 
placed:  there  is  no  royal  road  to  lighting  for  the  amateur 
save  through  experiment,  for  no  two  stages  have  the 
same  proportions  and  the  color  of  scenery  is  seldom 
duplicated.  The  unpracticed  amateur  will  find  the 
backdrop  the  easiest  to  make,  while  the  more  prac- 
ticed amateur  stage  technician  will  find  that  for  the 
cramped  stage  the  cyclorama  will  give  an  amazing 
effect  of  tdistance.  Colored  transparencies  (frames  of 
tinted  isinglass)  can  give  all  the  color  required  when 
used  with  spotlights.  Spotlight  and  transparencies  can 
be  obtained  from  any  store  carrying  theater  supplies. 
Painted  scenery  should  be  made  on  frames,  one 
frame  for  the  back,  and  one  for  each  side,  unless  other- 
wise indicated.  In  some  cases  the  backdrop,  as  it  is 
called,  may  be  a  painted  curtain  which  can  easily  be 
rolled  up  and  down.  The  side  pieces  or  wings  may  also 
be  curtains  that  can  be  rolled  up  and  down.  There  are 
stages  where  this  mechanism  is  not  possible.  Under 
these  circumstances  the  frames  must  be  made  as  a 
sign  standing  in  a  meadow  is  made — ^with  strong 
wooden  stanchions  behind  it.  This  is  a  more  or  less 
clumsy  way  of  making  scenery,  but  many  a  high  school 
or  townhall  stage  is  so  constructed  that  it  is  the  only 
kind  of  scenery  possible.  The  wings  may  be  straight, 
like  the  walls  of  a  room  on  each  side  of  the  stage,  or 


PAINTED  SCENERY  67 

they  may  jut  out  as  a  forest  tree  would.  These  wings 
must  be  made  of  the  same  materials  as  the  background, 
but  in  the  case  of  a  forest  or  what  is  called  a  "cut 
scene"  (named  so  because  the  leaves  of  the  trees  are 
all  cut  out  at  the  edges)  the  trees  may  be  made  of 
a  substance  called  compo  board,  used  by  architects, 
and  sold  wherever  architects'  supplies  are  carried.  It 
is  heavy  yet  supple,  of  a  pale  golden  color,  and  comes 
in  such  length  and  width  that  it  is  fine  for  tree  trunks 
or  for  leaves  and  branches.  It  can  easily  be  painted 
the  desired  shades.  It  is  also  good  for  making  a  little 
house,  such  as  the  one  for  Hansel  and  Gretel.  Tall 
white  pillars  for  a  palace  may  be  constructed  from  it. 
A  log  cabin  that  can  easily  be  moved  can  be  fashioned 
from  it.  It  lends  itself  to  all  sorts  of  uses  for  amateur 
stage  work. 

The  first  thing  to  do  in  constructing  scenery  is  to 
get  the  materials  necessary  either  for  the  backdrop, 
or  for  the  screens.  For  the  screens,  first  make  the 
wooden  frame  the  desired  height  and  length.  Across 
this  frame  the  material  on  which  the  scene  is  to  be 
painted  is  firmly  tacked. 

There  is  a  prepared  textile  called  Fabrikona  that  can 
be  had  at  interior  decorators.  It  makes  an  excellent 
surface  for  the  use  of  pigments,  and  is  not  (expensive. 
Its  value  lies  in  the  fact  that  it  is  already  prepared  for 
use. 


68  SCENERY 

Common  unbleached  cotton  is  the  next  best  fabric. 
This  should  be  thoroughly  wet  before  using,  and  then 
allowed  to  dry.  This  will  keep  it  from  stretching  or 
sagging  when  it  is  tacked  to  the  frame.  It  should  be 
stretched  across  the  frame  as  tightly  as  possible.  It 
must  he  taut.  It  is  now  ready  for  the  priming — ^a  coat 
of  white  paint,  rather  thin,  and  laid  on  evenly  over 
the  whole  surface,  preferably  with  a  whitewash  brush. 
The  canvas  must  be  primed  if  the  paint  is  to  stick. 
A  material  called  flax  canvas  may  also  be  used  as  a 
medium  for  painted  scenery.  This  fabric  must  be 
treated  in  exactly  the  same  way  as  unbleached  cotton. 
It  is  much  heavier,  and  it  is  also  more  expensive. 
Another  kind  of  priming  can  be  made  by  dissolving 
whiting  in  water  and  adding  size.  Any  house  painter 
can  advise  as  to  the  right  quantity  to  use.  Size  can 
be  purchased  at  any  paint  shop. 

For  painting  scenery  the  dry  powdered  colors  are 
best.  They  should  be  mixed  with  water  and  enough 
glue  or  mucilage  to  give  adhesiveness.  Here  again  a 
house  painter  or  sign  painter  will  be  useful  in  suggesting 
the  right  proportions.  These  paints  are  better  than 
the  average  house  paints  because  they  come  in  softer 
colors.  They  can  be  purchased  by  the  pound,  or  by  a 
fraction  of  the  pound  from  any  color  dealer.  Put  in  a 
covered  earthenware  crock,  or  even  in  a  covered  tin 
pail,  they  will  keep  quite  a  long  while  without  drying. 


PAINTED  SCENERY 


69 


It  is  best  to  keep  them  in  a  cool  dark  place,  however. 
And  it  is  advisable  to  use  them  when  they  are  freshly 
mixed,  if  possible.    They  are  apt  to  mildew. 

Before  the  scene  is  actually  painted  there  are  many 
things  to  be  done.  In  the  first  place,  the  scene  must  be 
drawn  to  scale  on  the  frame.  First  make  a  drawing  or 
tracing  of  the  scene  on  a  square  of  paper,  allowing  inches 
for  feet.    Then  mark  it  off,  thus:  * 


Each  square  represents  a  certain  number  of  inches, 
just  as  the  squares  faintly  indicated  on  maps  represent 
the  scale  of  miles.  The  actual  scene  frame  may  then 
be  blocked  off  in  squares  with  charcoal  lightly  put  on. 
Then  the  scene  can  be  drawn  in,  and  afterwards  painted. 
This  is  where  the  services  of  a  sign  painter  will  be  of 
help  to  the  amateur  who  has  not  had  much  experience, 
as  signs  are  very  often  marked  off  in  this  same  way  with 
a  huge  pencil. 

Suppose  the  scale  is  decided,  and  the  design  drawn 
in.  The  next  thing  to  consider  is  the  color,  which  the 
amateur   scene   painter   will   have   already   selected. 

^  Sec  page  231. 


70  SCENERY 

But  in  selecting  it  has  he  remembered  that  the  color 
will  greatly  depend  on  the  lighting  of  the  stage?  Arti- 
ficial light  has  a  way  of  changing  the  colors  it  is  turned 
on.  It  can  turn  yellow  into  pink  and  purple  into  black, 
and  pale  blue  into  pale  green.  To  avoid  this,  make  a 
small  screen  of  whatever  material  you  are  going  to 
use,  and  try  your  colors  on  it  by  artificial  Kghting.  If 
they  do  not  seem  right,  then  mix  them  by  artificial 
light  until  they  are  right.  This  will  often  take  some 
time  to  do,  but  it  is  well  worth  the  trouble  bestowed 
on  it.  The  professional  scene  painter  always  makes  a 
model  (i.  e.,  small  scene)  set  to  scale  on  a  miniature 
stage,  lighted  and  painted  exactly  as  it  is  going  to  be. 
Average  amateurs  may  not  be  able  to  do  this,  but 
they  can  make  a  miniature  scene,  or  even  a  small  screen, 
with  some  of  the  effects  they  expect  to  have  in  the 
larger  scene,  and  use  it  to  copy  from.  In  judging  the 
color  scheme  by  artificial  light  the  amateur  regisseur 
must  keep  in  mind  the  costumes  that  are  to  be  used 
against  the  backgroimd  he  is  painting. 

There  is  not  just  one  lighting  scheme  to  be  con- 
sidered, there  are  several,  each  one  of  them  influencing 
the  color  of  your  scene.  Since  indirect  lighting  will  not 
be  established  for  a  decade  in  most  amateur  audi- 
toriums, it  is  well  to  see  what  can  be  done  with  foot- 
lights of  different  colors,  or  abolishing  the  footlights; 
try  lighting  the  scene  from  the  back  and  sides. 


PAINTED  SCENERY  71 

If  you  use  the  red  footlights  to  convey  dawn  or  sun- 
set or  firelight  upon  your  stage,  it  will  affect  the  color 
of  your  scenery.  If  you  use  blue  footlights  for  a  twi- 
light scene  it  will  affect  the  color  of  your  scenery.  If 
you  combine  red  and  blue  for  grotesque  witch  scene 
effects,  there  is  still  your  scenery  to  be  reckoned  with, 
and  you  should  try  all  these  colors  upon  it.  Certain 
scenes,  such  as  the  Saxon  interior  given  in  this  book, 
can  be  Ut  from  the  back,  with  the  footlights  quenched. 
Strong  sunlight  or  rosy  dawn  light  can  be  thrown  from 
the  back  through  the  windows,  or  pale  moonUght  can 
flood  the  scene.  A  church  or  chapel  can  be  Hghted 
from  the  back  through  stained  glass  windows,  throwing 
gorgeous  color  on  all  present. 

For  distance  or  for  mist,  white  gauze,  or  netting 
dropped  between  the  back  curtain  and  the  audience. 
It  should  be  hung  close  to  the  back  curtain. 

For  the  sides  of  a  scene  where  painted  wings  cannot 
be  had,  drape  curtains  of  the  same  color  as  your  general 
scene,  green  for  a  wood,  brown  for  rocks,  etc.,  etc. 

A  shallow  stage  and  a  flat  background  accentuate 
the  decorative  value  of  the  costumes  shown  against 
them.  The  background  thus  remains  in  the  back- 
ground as  it  should.  But  it  puts  the  players  into  high 
relief.  From  this  effect  the  shallow  stage  and  the 
flat  backdrop  have  come  to  be  known  as  "the  reUef 
theater."     Max  Reinhardt  and  George  Fuchs  have 


72  SCENERY 

had  the  most  to  do  with  its  development  abroad.  It 
is  still  a  comparative  novelty  in  this  country.  It  is 
admirably  suited  to  the  amateur  stage,  for  nothing 
is  easier  to  do. 

In  choosing  the  color  for  a  scene  it  must  be  remem- 
bered that  the  costumes  are  usually  chosen  with  refer- 
ence to  their  background.  The  scene  color  and  the 
costimie  color  must  harmonize.  It  is  well  to  have  the 
scene  color  of  an  inobtrusive  tint  so  that  it  will  not 
clash  with  the  color  of  the  costumes,  and  will  allow 
greater  scope  in  choosing  them.  There  are  occasions, 
of  course,  when  scenery  may  be  of  a  bright  solid  color. 
A  pale  orange  or  deep  yellow  wall  rising  straight  up 
the  back  of  the  stage  as  if  it  towered  into  the  limitless 
blue  above  it  has  been  used  effectively  as  a  background 
for  white  and  deep  blue  and  jade  green  costumes. 
But  it  is  very  startUng  for  anything  except  a  play  laid 
in  India,  Persia,  or  some  of  the  Arabian  Night's  coun- 
tries. Except  for  scenes  of  a  startlingly  picturesque 
kind,  do  not  use  flaring  colors.  Avoid  backgrounds  oj 
pink  or  scarlet  for  ordinary  scenes. 

If  you  are  giving  an  historical  play,  try  to  have  your 
scenery  historically  correct.  Remember  that  a  scene 
antedating  your  play  by  a  hundred  years  is  better  a 
thousand  times  than  a  scene  which  could  not  have 
existed  imtil  after  your  play.  To  be  more  expUcit :  If 
your  scene  is  laid  in  the  seventeenth  century,  it  is 


PAINTED  SCENERY  73 

better  to  play  it  in  a  sixteenth-century  room  than  in  an 
eighteenth-century  room.  The  older  house  might  have 
existed  in  the  time  of  your  play,  but  the  eighteenth- 
century  house  never  could.  A  Httle  study  of  the  types 
of  scenery  given  in  this  book  will  show  you  what  is 
meant.  Every  period  had  its  own  style  of  architec- 
ture, and  as  good  an  imitation  of  that  style  of  archi- 
tecture as  possible  must  be  given. 

If  you  can  afford  only  a  few  scenes,  be  exceedingly 
careful  in  your  selection.  Think  well  of  the  kinds  of 
plays  you  are  hkely  to  give,  not  only  at  the  moment, 
but  in  future  productions.  If  you  adhere  to  modem 
plays,  choose  modem  scenery.  If  you  wish  to  give 
romantic  costume  plays,  choose  the  type  of  scenery 
necessary  for  them.  If  you  wish  to  give  fairy  plays 
for  children  choose  two  or  three  scenes  most  in  use 
in  the  fairy  tales.  Suppose  you  wish  to  give  all  three 
types  of  plays,  and  can  only  have  a  Umited  number  of 
scenes, — say  four  at  the  most.  Then  take  a  wood,  a 
kitchen,  a  garden,  and  an  interior  set  such  as  is  given 
on  page  236  that  may  be  either  drawing-room,  dining- 
room,  or  throne-room,  according  to  the  way  its  acces- 
sories are  arranged. 

While  as  wide  a  range  as  possible  of  the  indoor  and 
outdoor  scenes  in  general  use  are  pictured  in  this  book 
there  are  a  nimiber  of  others  not  in  such  general  use 
that  can  be  copied  from  the  following  descriptions: 


74  SCENERY 

Oriental  Scenery 

An  Outdoor  Street  Scene  for  a  Bible  Play,  or 
Play  founded  on  the  Arabian  Nights.  A  shallow 
stage,  a  backdrop  representing  a  plain  brown  wall 
with  the  smooth  surface  of  cement.  This  wall  should 
be  darker  brown  in  patches,  and  have  seams  as  if 
weatherworn.  The  top  of  the  wall  may  have  a  plain 
coping,  and  beyond  this  should  be  a  sky  strip  of  intense 
blue.  A  door  in  center  of  the  wall,  or  a  doorway, 
giving  on  a  paler  brown  background  that  suggests 
other  buildings  without.  Against  such  a  brown  wall, 
gorgeous  costumes  of  the  East  will  show  up  effectively. 
Scenes  from  Judith,  Rahab,  etc.,  can  be  given  with  this 
setting.  The  same  wall  with  a  brown  strip  instead 
of  a  sky  strip,  may  suggest  an  interior.  The  brown 
strip  should  be  of  the  same  texture  and  color  as  the 
wall.  A  rug  or  two  on  the  floor,  earthen  water  jars 
standing  against  the  wall,  and  the  scene  may  be  Alad- 
din^s  home  before  he  found  the  lamp,  or  AH  Babd's 
home.  With  changing  of  accessories  it  can  be  the  inn 
or  the  stable  for  The  Star  of  Bethlehem.  It  will  fit  any 
Christmas  play  along  these  lines.  This  same  interior 
decked  with  handsome  hanging  would  make  a  palace 
which  could  be  used  for  a  play  on  the  subject  of  Joseph. 

A  Housetop.  A  dark  brown  coping  three  feet  high, 
running  across  the  back  of  the  stage,  with  a  plain  blue 
sky  drop  behind  it  will  give  the  effect  of  a  housetop  if 


ORIENTAL  SCENERY  75 

the  people  entering  look  down,  as  if  looking  down  on 
the  roofs  of  the  city.  Cushions,  rugs,  etc.,  should  be 
the  accessories.  This  scene  is  especially  useful  for  plays 
of  Arabia  and  Palestine. 

For  a  Desert  and  Oasis.  A  plain  sand-colored  floor 
cloth.  A  backdrop  or  cyclorama  of  sky  blue  against 
which  very  low  sand  mounds  appear  as  if  at  great  dis- 
tance, with  palm  trees  also  made  small  by  distance. 
These  mounds  and  pahn  trees  should  be  painted  low  on 
the  backdrop,  since  a  vast  stretch  of  level  sand  is  what  is 
to  be  suggested.  It  would  even  be  possible  to  use  a  plain 
blue  sky  drop,  and  run  some  sand-colored  cambric  into 
mounds  across  the  back  of  the  stage,  so  as  to  break  the 
sky  line.  Cactus  plants  and  palms  (real  ones)  in  pots 
may  be  placed  about  the  sides  of  the  stage,  with  sand- 
colored  material  heaped  about  them  as  if  sand  had 
blown  in  mounds  against  their  roots.  A  large  pool- 
shaped  mirror  sunk  near  these,  and  a  few  trailing  vines 
win  give  all  the  effect  of  an  oasis.  The  jingling  of 
camel  bells  can  be  heard  off  stage  to  give  the  effect  of 
a  caravan. 

A  Background  for  Fantastic  Eastern  Panto- 
mimes, Dances,  etc.  The  effect  of  flat  walls  rising 
straight  up  the  back  of  the  shallow  stage  and  throwing 
the  actors  into  high  relief  has  already  been  noted. 
The  wall  gives  the  effect  of  towering  into  the  limitless 
blue.     For  fantastic  Eastern  pantomimes  this  waU 


76  SCENERY 

may  be  brilliant  yellow,  as  in  Sumurun,  or  white  with 
two  intense  blue  windows  (cobalt  blue)  or  parrot  green 
with  golden  windows,  or  black,  without  any  relief  save 
that  afforded  by  the  brilliant  costumes. 

For  a  Forest  or  Jungle.  Norman  Wilkinson's 
design  for  the  forest  in  A  Midsummer  Nighfs  Dreamy 
will  do  well  for  either  forest  or  jungle  and  has  fine 
suggestions  for  amateurs.  Mr.  Wilkinson  portrayed 
the  jungle  by  having  a  shallow  stage  and  a  great  back- 
curtain  of  yellowish-green  strips  of  cloth  which  hung 
loosely  from  ceiling  to  floor,  and  which  were  backed 
by  still  other  greenish-yellow  strips.  The  strips  were 
about  a  foot  wide,  and  were  used  on  a  large  stage. 
For  a  small  stage  the  strips  should  be  half  that  width. 
On  these  strips  strange  vines  and  flowers  were  painted, 
dusky  orange  here,  a  bit  of  sharp  crimson  there,  a 
black  vine  with  dark  flowers  circling  in  and  out  of  the 
yellowish-green  tangle.  It  gave  a  remarkable  effect 
of  tropic  growth,  of  exotic  vines  and  flowers.  It  was 
frankly  a  "poster"  jungle,  but  it  was  none  the  less 
effective  on  that  account.  A  jungle  like  this  might  be 
made  for  the  amateur  stage  by  having  yards  of  yellow 
and  green  cambric,  cut  in  strips,  the  unglazed  side 
toward  the  audience.  Stitch  the  lengths  of  cambric 
together  as  you  would  for  a  curtain,  and  lay  it  on  the 
floor.  Before  the  strips  are  cut,  all  over  the  surface  of 
the  cambric  stitch  strange  black  vines  and  tropic 


ORIENTAL  SCENERY  77 

flowers  as  described  above.  The  flowers  and  vines 
should  be  average  size,  and  the  yellowish-green  note 
should  be  the  dominant  one,  flecked  with  the  color 
of  the  vines  and  flowers.  Never  mind  if  in  cutting  you 
cut  a  flower  in  two,  or  lop  off  half  a  vine.  When  the 
whole  mass  sways  together  after  cutting  you  will  get 
the  effect  of  a  whole  vine  winding  in  and  out.  The 
strips  should  be  placed  three  deep — that  is,  three  cur- 
tains of  strips  should  be  hung  one  behind  the  other. 
Only  the  front  curtain  need  have  tropic  decoration. 
The  other  two  can  be  yellow  and  green.  With  this 
use  a  sand-colored  floor  cloth.  The  jungle  can  be 
painted  on  fabrikona,  but  the  cambric  is  very  much 
cheaper,  and  will  prove  quite  as  effective. 

Midnight  Sky  Arched  over  the  Desert  or  the 
Hnxs  OF  JuDEA.  A  scene  given  in  one  of  the  German 
theaters  is  full  of  suggestion  for  amateurs.  The  scene 
in  question  had  a  shallow  stage,  and  for  a  backdrop 
a  deep  blue  curtain  of  a  softness  to  suggest  depth,  with 
silver-white  stars  strewn  across  it.  The  original  cur- 
tain was  velvet,  but  for  amateurs  who  cannot  afford 
velvet  canton  flannel  will  do.  Against  this  midnight 
sky  curtain  the  gorgeously  robed  figures  of  the  Magii, 
or  the  simply  clad  figures  of  the  shepherds  will  stand 
out  in  sharp  silhouette.  Blue  and  white  Hght  should 
be  used,  as  the  scene  must  not  be  too  bright.  This 
curtain  will  be  splendid  for  Christmas  plays. 


78  SCENERY 

For  books  giving  pictures  of  the  Holy  Land,  of 
Arabia,  of  the  Desert  that  can  be  copied  for  back- 
grounds, and  properties,  see  Tissot's  Life  of  Christ. 

Egyptian  Scenes.  Sheer  walls  of  brown  or  putty  color, 
such  as  described  under  "  A  Background  for  Fantastic 
Eastern  Pantomimes ' '  will  do  for  Egyptian  scenes.  Very 
few  amateur  plays  are  laid  in  Egypt,  but  there  may  be 
occasional  need  for  backgrounds  for  dance-pantomimes. 

A  Chinese  Scene.  Few  amateur  plays  are  laid  in 
China,  save  Aladdin  and  Laurence  Housman's  Chinese 
Lantern.  For  Aladdin's  home  the  brown  wall  described 
in  "  Outdoor  Street  Scene  for  A  Bible  Play  "  will  do. 
For  a  Chinese  palace  the  effect  of  a  lacquered  wall 
may  be  obtained  by  using  background  and  side  walls  of 
the  kind  described  under  "  Backgrounds  for  Fantastic 
Eastern  Pantomimes."  With  these  lacquered  walls  use 
painted  satin  panels  hung  at  intervals,  and  a  few  huge 
Chinese  vases  if  possible.  These  can  be  obtained  at 
any  store  selling  Chinese  art  objects.  The  stage  for  any 
Chinese  play,  pantomime,  or  festival  should  be  as  bare  as 
possible.  The  Chinese  do  not  clutter  their  houses  with 
ornamentation.  Chinese  scenes  and  properties  may  be 
copied  from  some  of  the  following  books.  It  should  be 
remembered  that  flat-tinted  backgrounds  without  per- 
spective are  best  for  Chinese  scenes.  See  China  the 
Long-Lived  Empire,  by  E.  R.  Scidmore,  and  Letters  from 
China  by  Sarah  Pike  Conger. 


ORIENTAL  SCENERY  79 

Japanese  Scenes,  Indoors.  The  paper  houses  of 
Japan,  with  their  sliding  screens,  can  easily  be  copied 
by  amateurs.  The  back  and  side  walls  (interior)  of  a 
Japanese  house  can  be  made  by  covering  the  frame  of 
the  room  with  stout  wrapping  paper.  There  should 
be  bare  floors,  with  Japanese  cushions  to  sit  on.  A 
few  Japanese  prints  on  the  wall,  a  vase  on  the  floor 
filled  with  cherry  blossoms  and  a  Japanese  home  is 
fully  furnished.  Japanese  screens  may  be  used,  al- 
though they  are  mostly  manufactured  for  sending  to 
other  countries.  The  Japanese  themselves  do  not 
make  much  use  of  them.  For  The  Mikado  and  for  one 
act  Japanese  operettas  these  interiors  of  wrapping 
paper  will  prove  useful.  Excellent  ideas  of  the  interior 
of  Japanese  homes  can  be  had  from  Letters  from  Japan 
by  Mrs.  Hugh  Eraser. 

Japanese  Scenes,  Outdoor.  There  are  a  number 
of  Japanese  outdoor  scenes  possible  for  amateurs.  The 
same  backdrop  may  be  used  throughout  and  the  ob- 
jects in  the  foreground  changed  if  four  or  five  different 
scenes  are  wished.  A  backdrop  of  Fujiyama  done 
like  a  Japanese  poster — a  white  mountain  outlined  in 
black  against  a  pale  blue  sky.  At  left,  two  Japanese 
houses  made  large  enough  for  the  characters  on  the 
stage  to  enter  them  if  desired.  These  houses  may  be 
built  of  wrapping  paper,  and  have  roofs  of  thatched 
straw.    The  straw  that  is  bound  with  string  and  put 


So  SCENERY 

round  bottles  in  quarter  yard  pieces  would  be  excellent 
for  this.  If  this  straw  cannot  be  had,  take  hop  sacking 
which  can  be  had  from  wholesale  tea  and  coffee  houses. 
Japanese  lanterns  might  swing  from  a  short  bamboo 
pole  placed  over  the  doors  of  the  houses.  At  the  right 
of  the  stage  have  some  stunted  Japanese  pines  in  pots, 
and  a  large  Japanese  stone  lantern.  These  can  be 
rented  for  the  occasion  from  a  Japanese  store.  Still 
another  scene  can  be  made  by  using  the  Fujiyama 
backdrop,  and  having  trellises  at  right  and  left  of  stage 
from  which  hang  a  profusion  of  wistaria  vines.  These 
are  made  of  tissue  paper,  and  can  be  bought  from  the 
Dennison  Tissue  Paper  Co.,  New  York,  Chicago,  or 
Boston.  Local  dry  goods  stores  often  use  these  vines 
for  interior  decoration.  Inquirers  at  the  stores  can 
probably  find  where  the  wistaria  vines  can  be  bought. 
A  cherry  garden  in  Japan  is  another  thing  amateurs 
can  have.  The  Fujiyama  backdrop  with  cherry-trees 
at  each  side  makes  a  pretty  stage  t>icture.  Trees 
stripped  of  their  leaves  so  that  the  branches  are  quite 
bare.  On  these  branches  pink  cherry  blossoms  are 
fastened.  These  are  made  of  tissue  paper,  and  easy  to 
do.  Stand  the  trees  in  tubs  filled  with  moist  sand, 
and  cover  the  tubs  with  hop  sacking  and  green  cam- 
bric arranged  so  that  it  will  look  as  if  the  trees  stood  in 
mounds.  Some  ordinary  field  stones  will  keep  the 
material  in  place.    The  trees  will  give  the  effect  of  a 


ORIENTAL  SCENERY  81 

cherry  orchard  in  bloom.  All  these  scenes  are  day- 
light scenes.  For  a  night  scene  use  the  set  first  de- 
scribed, backdrop,  houses,  stunted  trees,  stone  lantern. 
Darken  the  stage.  Put  a  rosy  light  in  the  stone  lan- 
tern and  have  Hght  in  the  paper  house  which  will  shine 
through  the  semi-transparent  walls,  and  throw  quaint 
shadows  on  them.  The  lanterns  swung  before  the 
door — red,  green,  and  orange — should  be  lighted  with 
little  electric  bulbs.  These  scenes  will  serve  for  produc- 
tions of  Tlie  Mikado  J  for  dramatizations  of  Japanese 
fairy  tales,  and  for  all  Japanese  festivals.  For  scenery 
see  Letters  from  Japan,  by  Mrs.  Hugh  Eraser. 

Scenes  of  India.  Flat  backgrounds  of  solid  color 
can  be  used  for  plays  of  India  such  as  those  by  Rabin- 
dranath  Tagore.  The  Jungle  and  The  Midnight  Sky 
scenes  previously  described  will  also  do  for  such  plays. 
See  The  Jungle  Book,  by  Rudyard  Kipling,  illustrated. 

Scenes  of  Ancient  Greece  and  Rome.  The 
Odessy  for  Boys  and  Girls,  by  A.  J.  Church,  and  The 
St-ory  of  Rome,  by  MacGreggor  give  an  idea  of  Roman 
scenery,  and  the  pillars  given  in  the  scene  plates  of 
this  book  will  also  be  a  help. 

European  scenes  such  as  are  used  in  fairy  and  fan- 
tastic plays  can  be  found  in  the  scene  plates  of  the 
present  volume.  These  may  be  augmented  by  the  pic- 
tures in  the  "  Peeps  at  Many  Lands  "  Series. 

American  Scenes  most  in  use  and  suggestions  for 


82  SCENERY 

their  construction  will  be  found  in  the  notes  accom- 
pan)dng  the  scene  plates  in  this  book,  but  a  few  not 
included  there  are  added  here. 

A  Stockade.  A  shallow  stage,  some  ten  feet  deep, 
and  across  the  back  of  it  a  wall  of  logs,  the  logs  placed 
in  an  upright  position.  These  logs  may  be  painted  on 
compo  board  or  canvas.  They  should  be  eight  feet 
high.  A  blue  sky  drop  behind  the  wall.  Holes  for 
musket  fire  and  observation  about  as  big  as  a  knot 
hole.  The  wall  of  logs  may  either  be  round  Uke  a  block 
house,  curving  down  to  the  footlights,  or  it  may  be 
square,  like  the  half  of  a  fort.  The  square  stockade  will 
necessitate  a  wall  at  back,  and  at  each  side.  A  door 
formed  of  logs  may  be  in  center  background  or  at  one 
side.   A  brown  floor  cloth  should  be  used  with  this  scene. 

Village  Stocks.  The  backdrop  representing  houses, 
given  in  scene  plate  on  page  i8i,  and  trees  on  page  173 
for  wings.  In  the  center  of  this  village  square  wooden 
stocks  or  pillory.  Under  the  word  pillory  or  stocks 
these  properties  may  be  found  in  any  large  dictionary, 
and  copied  therefrom. 

Street  Scene  in  Early  American  Town.  The 
backdrop  on  page  181.  The  exterior  of  inns,  views  of 
old  streets,  etc.,  etc.,  can  be  found  in  the  following 
books:  Life  in  America  One  Hundred  Years  Ago,  by 
Gaillard  Hunt;  Old  New  England  Inns,  by  M.  C. 
Crawford. 


SCREEN  SCENERY  83 

Screen  Scenery 

In  making  screen  scenery  there  are  two  kinds  of 
screens  to  be  kept  in  mind:  the  draped  screen  and  the 
cardboard  screen.  The  cardboard  screen  is  made  like 
a  Japanese  screen,  with  hinges,  and  the  draped  screen 
likewise.  There  should  be  two  screens  across  the  back 
of  the  stage  and  two  on  each  side,  slightly  parted 
so  that  entrances  are  possible.  Behind  each  of  these 
openings  there  should  be  yet  another  screen,  so  that 
there  will  be  no  "gaps"  to  annoy  the  eye. 

Screens  of  compo  board  can  be  made  in  many  colors, 
and  painted  as  desired.  Of  course,  for  the  average 
amateur  a  screen  will  always  be  more  or  less  a  screen, 
but  in  the  hands  of  a  great  regisseur  like  Gordon  Craig 
it  may  convey  marvelous  effects.  The  Craig  produc- 
tion of  Hamlet  at  the  Moscow  Art  Theater  was  ac- 
comphshed  with  no  other  background  than  a  series  of 
cream  colored  screens  placed  in  different  geometrical 
combinations  and  flooded  with  varying  Ughts,  Panelled 
wood  wall  paper  pasted  on  a  compo  board  screen  will 
give  the  effect  of  a  Tudor  room,  and  there  are  all  man- 
ner of  effects  to  be  gained  from  pale  yellow,  jade  green, 
deep  cream,  and  black  screens.  They  are  inexpensive 
to  experiment  with. 

Draped  screens  may  be  covered  with  canton  flannel 
dyed  in  different  colors.    For  pantomimes  given  on  a 


84  SCENERY 

shallow  stage  these  screens  make  very  passable  back- 
grounds. 

Curtain  Scenery 

A  stage  with  the  background  and  sides  hung  with 
curtains  is  what  is  meant  by  draped  scenery.  These 
curtains,  imless  a  special  effect  is  desired,  should  be  all 
one  color,  cream,  or  blue,  or  rose — ^whatever  it  is  to  be. 
These  curtains,  when  parted,  should  show  a  wall  draped 
in  the  same  color,  so  that  when  characters  enter  there 
will  be  no  ugly  gaps.  The  material,  too,  should  be 
the  same.  There  should  as  a  rule  be  an  entrance  at 
the  back,  and  one  at  each  side  of  the  stage.  The  color 
of  curtain  scenery,  like  the  color  of  painted  scenery, 
should  be  chosen  by  artificial  light,  and  with  reference 
to  the  costumes  that  are  to  be  used  against  it.  For 
instance,  a  stage  hung  with  forest  green  curtains  may 
suggest  a  wood,  and  the  dark  green  wiU  be  an  excellent 
foil  for  the  costumes. 

Dark  forest  green  hangings  are  absolutely  invalu- 
able. If  only  one  set  of  hangings  can  be  afforded,  have 
them  of  this  color.  And  denim  is  a  good  serviceable 
material.  They  can  be  a  wood  in  one  scene,  and  with 
a  flat  brown  border  basted  to  the  other  side  they  can 
suggest  a  Puritan  interior.  With  a  rose-flower  cretonne 
border  basted  to  them  they  can  become  a  Colonial 
room.     With  a  pale  blue  border  they  are  a  palace. 


CURTAIN  SCENERY  85 

With  a  white  Grecian  border  they  represent  a  room  in 
a  Grecian  home.  To  have  them  suggest  the  interior 
of  a  peasant  home  is,  naturally,  the  most  difficult  of 
all,  because  the  scene  of  a  rude  interior  with  a  hearth 
is  usually  meant  to  be  conveyed.  For  this  sort  of  a 
scene  have  the  furniture  low,  a  bench  or  two,  and  a 
somewhat  squat  table.  Have  as  little  furniture  as 
possible.  You  wish  merely  to  suggest  the  scene.  Have 
a  tallow  dip  for  a  hght,  and  for  a  hearth — ^not  a  hearth 
at  all.  Have  a  brazier  with  charcoal  burning,  as  is 
often  customary  in  some  of  the  European  peasant 
homes.  This  can  be  made  by  painting  a  tripod  wash- 
stand  black,  and  setting  a  candle  deep  in  it,  or  burn- 
ing a  little  red  powder  to  give  a  glow.  One  has  always 
to  be  careful  of  fire,  but  to  bum  a  candle  or  powder 
in  a  bowl  is  generally  safe.  Stand  the  tripod  where  it 
is  least  likely  to  upset.  The  characters  who  enter  can 
warm  their  hands  at  it  as  at  a  hearth.  Of  course,  if  it 
can  be  had,  a  red  spot-Hght  turned  on  is  the  best  of 
aU. 

For  a  Palace.  Hangings  of  pale  blue,  or  deep  vivid 
blue.  A  throne  chair  of  white  and  gold,  set  on  a  raised 
dais.  But  suppose  a  throne  chair  cannot  be  had? 
Then  a  box  dais,  and  set  on  it  firmly  an  armchair. 
Drape  or  cover  this  with  pale  blue  cambric,  glazed 
side  outward,  to  represent  satin.  Place  over  the  back 
of  it  cloth  of  gold,  that  is  made  by  gilding  burlap  with 


86  SCENERY 

radiator  bronze,  or  a  spangled  scarf  placed  straight 
across  the  back  will  make  a  fine  ghtter. 

A  Garden.  The  same  method  of  arrangement  as 
for  a  wood  or  forest,  with  vines  and  paper  flowers  that 
can  be  bought  very  cheaply  by  the  yard  from  the 
Dennison  Tissue  Paper  Co.  These  vines  are  fastened 
to  the  curtains  as  if  to  a  little  trellis.  A  little  confetti 
laid  beneath  them  gives  them  the  effect  of  fallen 
blossoms. 

A  Dungeon.  Black  hangings,  and  black  or  pine 
furniture.   A  black  or  gray  floor  cloth. 

A  Street  Scene.  This  is  the  most  difficult  to  con- 
vey by  the  means  of  curtains,  but  it  can  be  done.  Re- 
member that  you  are  to  suggest  a  street  scene  only. 
Have  gray  unglazed  cambric  hangings,  with  the  out- 
line of  doors  and  quaintly  shaped  windows  put  on  life- 
size  by  stitching  outlines  of  black  cambric  to  the  gray 
curtains.  It  is  better  to  stitch  them  than  to  paint  them, 
for  cloth  that  shows  up  paint  is  really  rather  expensive. 
The  effect  is  to  suggest  a  street,  and  as  this  kind  of 
scenery  belongs  to  no  particular  period  it  can  be  used 
from  the  tenth  to  the  seventeenth  century.  It  can  also 
be  used  to  suggest  modem  scenes  in  quaint  European 
villages  such  as  Httle  out-of-the-way  French,  German, 
Scandinavian  or  Russian  towns.  For  a  modem  street 
scene  it  is,  of  course,  quite  inappropriate. 

A  Peasant's  Home.    As  has  been  suggested,  bra- 


CURTAIN  SCENERY  87 

ziers,  benches  and  a  table.  Brown  hangings  and  a 
brown  floor  cloth  if  possible.    If  not,  green  wiU  do. 

An  Eastern  Palace.  Yellow  curtains,  with  a  throne 
covered  either  in  scarlet  or  orange. 

The  Drop  Curtain.  For  a  drop  curtain,  dark 
green  is  to  be  preferred  above  aU  other  colors.  Next  to 
this  dark  brown.  It  must  be  of  thick  material,  denim 
or  felt.  Take  dark  blue  or  dark  red  if  you  cannot  get 
green  or  brown.  Green  is  best  because  it  can  be  used 
to  advantage  in  forest  scenes  after  it  is  worn  out  as  a 
curtain.  Or  brown  curtains  can  be  used  when  half 
worn  for  a  floor  cloth,  for  forest  scenes. 

The  laws  of  certain  cities  prohibit  the  use  of  curtains 
in  schools,  on  account  of  the  fear  of  fire.  Other  schools 
cannot  have  a  curtain  large  enough  for  their  audi- 
torium. This  makes  things  awkward  for  a  play  de- 
manding change  of  scene.  Of  course  the  lights  can  be 
turned  off  in  some  schools,  and  the  scenery  changed  in 
semi-darkness;  but  there  are  schools  where  even  this 
advantage  cannot  be  had.  For  those  who  find  them- 
selves in  a  curtain  predicament  the  following  is  sug- 
gested. Have  six  scenery  pages,  boys  or  girls  as  nearly 
of  a  height  as  possible.  Let  them  wear  a  dark  color 
or  colors,  and  be  sure  their  shoes  and  stockings  are 
black.  Have  couch  covers,  portieres  or  strips  of  doth 
fastened  to  curtain  rods.  Let  the  pages  pass  quickly 
to  the  front  of  the  stage  as  soon  as  the  scene  closes, 


88  SCENERY 

holding  these  improvised  screens  between  changing 
scene  and  audience  till  the  scenery  is  moved. 

For  a  church  scene  have  colored  dark  hangings.  An 
offertory  table  with  a  long  straight  centerpiece  of 
white,  candles  at  either  end  and  in  the  center. 

Be  careful  of  your  stage  furnishing.  It  can  do  much 
to  make  or  mar  a  play.  See  that  your  chairs  and  tables 
are  of  the  period  described  in  the  text.  If  your  play  is 
Greek,  study  the  lines  of  Greek  benches  or  seats.  You 
can  have  them  made  very  inexpensively,  and  painted 
white.  Never  under  any  circumstances  use  modern  fur- 
niture in  Greek  plays. 

For  your  interior  scenes,  if  your  play  is  laid  in  early 
Saxon  times,  in  the  days  of  Robin  Hood,  or  the  Pilgrim 
Fathers,  in  fact  in  any  century  up  to  the  eighteenth, 
you  are  safe  in  using  heavy  black  mission  furniture 
with  upright  chairs  and  plain  tables.  The  mission 
furniture  may  not  fit  the  period  in  detail,  but  it  is 
unobtrusive,  has  simple  lines  and  the  massiveness  of 
the  early  furniture.  Never  use  bright  colored  furni- 
ture unless  so  directed  in  the  text  of  the  play. 

Use  ornaments  very  sparingly  unless  called  for. 
They  clutter  your  scene.  Remember  that  tablecloths, 
white  or  silken,  were  not  in  general  use  till  the  eighteenth 
century.  Even  then  they  were  used  for  meals,  and 
not  for  tables  in  drawing  rooms  or  libraries.  These  were 
poHshed  and  bare.    Do  not  use  "tidies"  or  "throws" 


CURTAIN  SCENERY  89 

unless  your  scene  is  laid  in  America  at  the  time  of  the 
Civil  War,  or  unless  you  wish  to  suggest  an  old- 
fashioned  farmhouse  interior.  Do  not  use  cushions  of 
varigated  colors  unless  your  scene  is  Japanese.  Too 
many  bright  and  varied  colors  distract  the  eye.  Use 
dim,  quiet  colors.  In  fact,  have  the  same  taste  in  your 
scenes  that  you  would  in  household  decoration.  Choose 
your  accessories  with  reference  to  the  color  of  your 
background.  Try  to  work  out  your  scene  setting  in 
one  or  two  quiet  colors.  It  is  the  actors,  not  the  scene, 
that  you  wish  to  bring  before  the  eye  of  the  audience. 

Have  as  httle  furniture  on  the  stage  as  possible.  Use 
a  floor  cloth,  or  if  this  is  not  obtainable,  a  bare  floor 
with  or  without  a  fur  rug.  Do  not  put  a  lepoard  skin 
in  the  home  of  a  Danish  peasant,  as  one  amateur  pro- 
ducer did.  Beware  how  you  use  Persian  rugs.  Few 
amateur  plays  are  laid  in  Persia.  Above  all,  beware  of 
brightly  colored  strips  of  carpet,  unless  you  wish  your 
scene  to  be  comic  or  grotesque. 

An  eighteenth-century  interior  may  be  light  in  color. 
Have  spindle-legged  fumitiu*e,  cretonne  hangings, 
and  soft-colored  cushions.  With  this  century  came  in 
lacquered  tables  and  trays. 

Never,  unless  your  scene  setting  actually  requires  it, 
set  a  scene  in  a  pink  or  red  room.  It  will  kill  the  color 
of  most  of  your  costumes.  "Ah,"  cries  some  unfor- 
tunate producer,  "what  if  you  are  in  a  little  town 


90  SCENERY 

where  the  only  interior  scene  is  red?  What  are  you 
going  to  do?"  In  this  case  use  black  or  dark  furniture 
and  try  to  offset  it.  If  you  are  in  a  place  where  you 
must  choose  between  a  red  dining-room  set,  or  a 
"parlor"  set  ornate  with  gilt  and  bright  wallpaper, 
when  what  you  need  is  the  interior  of  a  peasant's 
home,  turn  your  scenery  inside  out.  The  white  back  and 
the  wooden  props  will  look  like  a  crude  whitewashed 
home.  If  the  back  is  only  a  little  yellowish  or  dirty, 
you  are  saved.  If  you  are  allowed  to  tack  brown  wall- 
paper (plain)  to  the  back  of  the  set,  you  can  make  an 
excellent  peasant  hut  out  of  it,  or  an  interior  that  will 
do  for  a  Puritan  Hving  room,  or  an  eighteenth-century 
kitchen. 


PROPERTIES 


PROPERTIES  AND  HOW  TO  MAKE  THEM 

Use  care  in  the  selection  of  your  properties.  Study 
your  text.  Avoid  anachronisms.  Do  not  use  muskets 
and  pipes  in  a  scene  that  is  laid  before  muskets  were 
invented  and  tobacco  discovered.  Do  not  use  modem 
lamps  to  light  a  mediaeval  scene.  Do  not  use  modem 
musical  instmments  in  a  scene  that  is  laid  in  Grecian 
or  mediaeval  times.  These  are  some  of  the  average 
mistakes.  Remember  that  penholders  and  pens  are 
a  modem  invention.  Use  quill  pens  and  sand  for 
plays  whose  scenes  are  laid  before  the  early  nineteenth 
century.  Do  not  use  clocks  in  Greek  or  early  Saxon 
scenes.  If  your  characters  are  writing  or  sending 
letters  in  the  time  when  parchment  was  used,  have  the 
paper  yellowed  to  look  like  parchment.  Do  not  have 
a  modem  fireplace  in  a  peasant's  home  where  the 
hearth  would  naturally  be  built  of  stone.  Do  not  use 
modem  dishes  in  mediaeval  scenes.  Buy  paper  plates 
and  cover  them  with  colored  tissue  paper,  or  paint  them 
till  they  resemble  the  kind  of  platters  you  need.  Brown 
will  represent  earthenware.  Gold  and  silver  for  fairy 
palaces  can  be  made  by  gilding  them  over  or  covering 
them  with  gold  paper.  Remember  that  forks  and 
spoons  were  not  in  popular  use  in  the  days  of  Robin 

93 


94  PROPERTIES 

Hood.  Fingers  and  knives  did  the  required  work.  The 
hearth  was  used  for  cooking.  Beware  of  modem  cook- 
ing utensils  in  fairy,  Puritan  or  Colonial  scenes.  "  Gad- 
zooks"  and  modem  coffee  pots  do  not  go  together. 
Beware  of  modem  frying  pans  for  hearthstone  scenes. 
Use  iron  skillets  instead.  A  kettle  for  these  scenes  is 
always  permissible,  but  if  it  is  a  peasant  scene,  see  that 
it  is  not  the  too  shining  brass  of  the  tea  kettle  of  the 
afternoon  tea  table.  Remember  that  coal  fires  are 
modem.  If  you  are  having  a  fairy  peasant  scene  use 
wood  instead.  Use  braziers  where  the  scenes  require 
it.  They  are  always  effective;  and  can  be  made  by 
blacking  a  tripod  washbowl,  and  hghting  a  little  red 
fire  powder  in  it,  or  some  joss  sticks  which  will  give 
a  thin  blue  smoke.  Or  a  red  electric  bulb  can  be  used 
in  it  if  there  is  no  spot  light. 

Be  careful  of  your  hghting.  The  Greeks  had  torches 
when  they  wanted  a  bright  hght,  and  small,  bowl- 
shaped  lamps  with  a  wick  and  oil  for  smaller  illumina- 
tions. Gold  cardboard  torches  from  which  stream 
slashed  strips  of  flame-colored  tissue  paper  are  safe 
substitutes.  The  Saxons  and  early  EngHsh  had  msh- 
Hghts  and  bowl  lamps.  A  bowl  that  looks  like  earthen- 
ware, with  the  stub  of  a  candle  in  it,  will  do.  In  mediae- 
val times  swinging  lamps  and  candles  were  for  the 
rich:  while  the  humble  were  content  with  tallow  dips 
only. 


PROPERTIES  95 

Don't  use  the  spinning  wheel  before  the  spinning 
wheel  was  invented,  just  because  it  is  decorative. 
Don't  use  a  modem  glass  "tumbler"  for  your  doublet 
and  hose  hero  to  drink  from.  A  cheap  glass  goblet 
covered  with  gold  paper  will  look  like  a  gold  goblet. 

If  possible  have  your  youthful  players  make  their 
own  properties.  Take,  for  instance,  a  fallen  tree  trunk, 
or  a  log  for  a  forest  scene.  It  can  be  made  by  fastening 
together  two  small  vinegar  barrels,  and  covering  them 
with  green  and  brown  burlap  to  represent  bark  and 
moss.  Or  it  can  be  covered  with  brown  burlap  and 
gray  lichen — real  lichen  fastened  to  it  with  strong  glue. 
Such  a  stage  property  as  this  can  be  used  again  and 
again.  And  the  boy  who  went  to  the  outl)dng  fields 
or  suburbs  to  get  the  moss — may  he  not  know  some- 
thing of  nature's  secrets  that  he  had  not  known  before? 
And  may  not  the  eager  quest  bring  him  hours  of 
entire  happiness?  A  seventeenth-century  broom  can  be 
made  by  tying  an  armful  of  hazel  or  willow  switches 
to  an  old  broom  handle.  The  browner  and  sturdier 
these  twigs  are  the  better.  This  broom  material  can 
be  gathered  at  the  same  time  as  the  moss. 

Stimulate  initiative  and  invention  wherever  pos- 
sible. A  round  collar  box  is  only  a  collar  box  untU 
you  use  it  for  an  earthen  bowl.  A  white  cardboard 
shoe  box  is  cut  down  a  little,  covered  with  black  tissue 
paper,  has  a  little  yellow  pane  inserted  in  each  side, 


96  PROPERTIES 

and  a  curtain  ring  for  a  handle.  Behold  a  lantern 
for  a  Yankee  minute-man,  or  Paul  Revere,  or  anyone 
else  who  wants  to  use  it. 

Remarkable  stage  furniture  can  be  made  from  wooden 
boxes  of  all  sizes.  A  packing  case  makes  a  dais.  Several 
boxes  nailed  together  and  stained  brown  will  make  a 
peasant's  cupboard.^ 

Three  boxes  nailed  together  like  this  fl  wiU  make  a 
hearth.  If  it  is  to  be  a  mediaeval  or  fairy  tale  hearth, 
cover  it  with  cheap  gray  cambric,  bulked  to  look  like 
stone,  and  marked  with  splotches  of  white  and  brown 
chalk.  Be  sure  you  turn  the  unglazed  side  of  the  cam- 
bric outward.  Use  chalk  because  paint  will  not  show 
up  well  on  cambric.  A  brick  fireplace  for  a  modem 
scene  can  be  made  in  the  same  way,  covering  the  boxes 
with  brick  chimney  paper  that  can  be  bought  at  Den- 
nison's  Tissue  Paper  Co.,  Boston,  Chicago,  or  New 
York.  One  of  their  catalogues  will  prove  invaluable 
to  directors  living  in  the  coimtry.  A  narrow  box  on 
rockers,  stained  brown,  becomes  a  Puritan  or  eight- 
eenth century  cradle.  Gilded  and  hooded  it  is  the 
cradle  of  a  royal  Princess.  Couch  seats  can  be  made 
from  boxes,  only  be  sure  that  they  are  secure. 

1  See  Box  Furniture,  by  Louise  Brigham. 


COSTUME  PLATES 


COSTUME  PLATE  i 


GREEK  OR  ROMAN 


EUROPEAN  COSTUMES  FOR  ADULTS 

COSTUME  PLATE  i 

(For  historical  or  mythological  play,  or  pageant) 

Grecian  Costume  for  man  that  by  slight  changes  can 
become  Roman,  Saxon,  or  Biblical. 

Grecian  Costume.  Use  this  costimie  as  a  basis.  Put  a 
Grecian  border  roimd  neck,  sleeves,  and  hem.  With  this 
use  a  chahnys  described  on  page  24  under  "Ancient  Greek 
Costmne."  For  a  Greek  soldier,  body  armor,  an  aegis,  i.  e. 
goatskin  shield,  the  beautifully  shaped  Greek  hehnet,  a 
cloak  and  a  long  spear.  An  excellent  picture  of  Greek 
warrior's  costume  can  be  found  under  the  picture  of  Mars 
in  most  large  dictionaries. 

Materials.  Linen  and  wool,  which  can  be  imitated  in 
muslin  and  woolen  batiste. 

Colors.  White  was  used  more  generally  than  colors, 
particularly  for  soldiers.  In  colors  ox-blood  red,  yellow, 
blue,  and  cream.  For  details  see  "Ancient  Greek  Cos- 
tume," page  23. 

Roman  Costume.  This  can  form  the  basis  for  a  Roman 
costume  for  men  and  boys.  For  men  past  their  first  youth 
it  should  fall  to  the  ankles,  and  for  young  nobles  it  should 
be  the  same  length.  See  pictures  of  JuUus  Caesar.  Over 
it  should  be  draped  the  toga.  For  making  toga  see  "An- 
cient Roman  Costiune"  on  page  35.  A  Roman  soldier 
may  wear  this  as  an  under  tunic,  and  over  it  body  armor, 
either  metal  or  leather,  but  leather  can  be  easily  imitated 
by  leatherette.     This  leather  armor  was  called  Corium, 

lOI 


I02  COSTUME  PLATES 

and  pictures  of  it  can  be  found  in  Webster's  dictionary 
under  that  word.  There  should  be  a  helmet,  a  round 
shield,  a  spear.     Read  page  25  for  greater  detail. 

Saxon  Costume.  This  tunic  can  be  worn  as  it  stands 
for  a  Saxon  costume,  with  a  cord  about  the  waist.  From 
first  to  fifth  centuries  by  nobles  and  peasants,  and  from 
fifth  to  tenth  centuries  by  peasants  only.  See  "Costumes 
of  the  Britons,"  under  the  early  centuries  in  the  chapter 
on  Costumes.    Materials  and  colors  will  be  suggested  there. 

Biblical  Costume.  This  tunic  will  do  for  youths  and 
boys  in  Biblical  plays,  for  old  men  the  tunic  should  come  to 
the  ankle.  It  should  have  no  border.  For  detail  see 
"Oriental  Costumes,"  in  chapter  on  Costumes. 

COSTUME  PLATE  2 
(For  plays,  pageants  and  processions) 

Grecian  Costume.  With  changes,  Biblical  Costume. 
Roman  Costume.  Early  Saxon  Costume.  May  also  be 
a  costume  for  a  Goddess,  and  for  Mythological  and 
Symbolic  characters,  such  as  Industries  and  States  and 
Countries,  etc. 

Greek  Costume.  This  is  not  a  purely  Grecian  costume 
as  it  is  given  in  the  plate;  it  is  more  fanciful  and  symbolic. 
For  a  Grecian  costume  have  short  semi-fitted  sleeves,  com- 
ing to  the  elbow.  The  rest  of  the  costume  is  correct.  There 
may  be  a  Grecian  border  round  the  hem  of  the  dress  if 
desired.  The  colors  may  be  bright  blue,  ox-blood  red, 
corn-yellow  and  white.  The  Greeks  had  no  pastel  colors. 
The  materials  are  linen  or  wool,  that  can  be  copied  in 
cashmere,  woolen  batiste,  cheesecloth  and  cotton  crepe. 
The  border  may  be  in  blue  or  yellow,  or  black  on  white. 
Or  it  may  be  a  gold  or  silver  border,  for  state  occasions. 


COSTUME  PLATE  a 


GREEK  COSTUME 

Copyright  by  The  Butterick  Publishing  Co.,  New  York  City 

Pattern  6591 — Greek  Gown,  with  Short  Train  or  in  Round  Length  and  with  Sleeve  in 
Either  of  Two  Outlines.  (Ladies,  Misses,  Girls.)  5  Sizes:  26  to  42  inches  Bust  Measure. 
Price,  15  Cents.  As  shown  on  figure,  the  medium  size  requires  7|  yards  of  material  36  inches 
wide,  with  2|  yards  of  banding  for  trimming-bands. 


COSTUME  PLATES  105 

For  further  description  of  what  may  be  worn,  see  chapter 
on  Costumes,  imder  "Grecian  Costume."  For  Grecian 
costume  for  yoimg  girl  or  very  little  girl,  see  "Fairy  Cos- 
tume," page  191,  a  costume  which  must  be  used  without 
the  fairy  wings. 

Biblical  Costume.  Omit  the  flowing  sleeves,  and  have 
short  semi-fitted  sleeves  coming  to  a  line  a  Httle  above  the 
elbow.  The  tunic  should  come  to  the  ankles.  The  Grecian 
bands  crossed  at  the  breast  should  be  omitted.  Wind  a 
striped  mantle  about  the  size  and  length  of  an  ordinary 
couch  cover  about  the  head  and  shoulders,  letting  it  fall 
to  the  ankles.  The  hair  must  flow  loose  about  the  shoul- 
ders. For  further  description  of  color  and  material,  look 
under  "Oriental  Costvunes,"  page  20. 

Roman  Costume.  For  a  Roman  matron  omit  the 
Grecian  bands.  The  robe  may  either  have  plain  bands 
crossed  on  the  breast,  or  no  bands  at  all.  The  sleeves 
should  be  semi-fitted  and  come  to  the  elbow.  This  robe 
may  form  an  under  tunic,  if  desired,  and  over  it  may  be 
placed  another  tum'c,  coming  to  the  knee.  Both  under 
tunic  and  over  tunic  must  be  of  the  softest,  most  pliable 
material,  and  they  should  be  scant,  so  as  to  avoid  bunchi- 
ness.  A  plain  border  may  be  worn  with  the  Roman  cos- 
tume, but  never  a  Grecian  border.  For  a  young  Roman 
girl  or  little  girl,  see  "Fairy  Costume,"  page  191,  without 
the  wings.  For  further  instructions  on  Roman  costimie 
see  "Andent  Roman  Costume,"  page  25. 

Saxon  Costume.  This  costume,  with  certain  changes, 
may  be  made  to  do  for  an  early  Saxon  costume.  It  should 
be  made  into  a  tunic,  coming  to  the  ankles,  and  the  sleeves 
should  be  semi-fitted  elbow  sleeves.  There  should  be  no 
border  and  no  Grecian  band  crossed  on  the  breast,  but  a 
white  cord  may  be  crossed,  if  desired,  or  the  dress  may  be 


io6  COSTUME  PLATES 

a  tunic  falling  straight  from  neck  to  hem.  A  mantle  in 
some  solid  color,  made  the  length  and  breadth  of  a  couch 
cover,  may  be  draped  about  the  body  for  outdoor  wear. 
This  may  be  worn  from  the  first  to  the  fourth  century.  See 
Costumes  of  Great  Britain  on  page  27. 

Goddess  Costume.  This  costume  as  it  stands,  changed 
according  to  pictures  of  mythology,  a  hehnet  and  shield 
for  Athena,  and  so  forth.  See  notes  on  symbolic  costumes, 
page  53.  It  should  be  made  in  the  same  colors  and  ma- 
terials as  those  given  imder  Grecian  Woman,  if  it  is  a 
Grecian  (joddess.  If  it  is  a  Roman  Goddess,  copy  Roman 
pictures. 

Mythologic  and  Symbolic  characters  will  be  costumed 
in  this  robe  exactly  as  it  stands,  though  greater  latitude 
may  be  allowed  as  to  color  and  material.  If  used  for  Ger- 
man Mythology  the  costumes  should  be  copied  after  illus- 
trated editions  of  the  Wagnerian  Ring.  For  Scandinavian 
and  Norse  Mythology  copy  the  pictures  of  the  Norse  God- 
desses. For  symboHc  figures  of  states  and  cities,  have 
the  robe  white,  and  an  over-robe  of  the  city  or  state  color 
attached  to  the  shoulders,  and  falling  to  the  ground.  In 
the  case  of  countries,  do  not  use  the  flag  to  drape  the 
symbolic  figure,  or  even  use  it  as  a  cloak.  This  is  forbidden 
by  law.  A  flag  of  the  country  carried  in  the  hand,  and 
perhaps  a  robe  flowered  with  the  country's  flower  may  faU 
from  the  shoulder.  For  England  a  robe  with  red  roses,  for 
France  golden  liHes,  or  white  liHes  on  royal  blue,  for  Ger- 
many the  cornflower,  for  Ireland,  Irish  green  and  gold 
shamrocks,  etc.,  etc. 

Columbia.  White  robe,  exactly  as  it  is  here,  the  Greek 
border  changed  to  a  border  of  red,  white  and  blue,  or  a 
border  of  stars.  A  crown  of  stars.  A  robe  made  of  three 
broad  stripes  of  red,  white  and  blue  fastened  at  the  shoulders 


COSTUME  PLATE  3 


MONK'S  COSTUME 


COSTUME  PLATES  109 

with  buckles  in  the  shape  of  eagles.    Carries  the  Stars  and 
Stripes  on  a  staff  in  her  hand. 

Liberty.  The  white  robe  given  in  the  picture,  with  a 
white  cord  crossing  where  the  Greek  border  now  is.  A  red 
liberty  cap  such  as  is  seen  on  the  head  of  Liberty  on  a 
dollar.  A  robe  of  red,  white,  and  blue  as  described  for 
Columbia,  or  a  deep  blue  robe  covered  with  white  stars. 
Either  robe  should  fall  from  the  shoulders  to  the  edge  of  the 
dress.  Liberty  should  carry  a  gold  torch,  with  red  and 
yellow  tissue  paper  flames. 

COSTUME  PLATE  3 
(Costume  that  can  be  used  for  plays,  pageants  and  tableaux) 

Monk's  Costume  of  no  Particular  Order. 

Can  be  used  from  the  earliest  times  A.  d.  to  the  present, 
in  England,  France,  Ireland,  Germany,  Italy,  Spain.  If  a 
monk  of  a  particular  order  is  desired,  then  look  up  monk's 
dress  or  ecclesiastical  dress  in  illustrated  books,  and  put 
the  necessary  changes. 

Materials.    Serge. 

Color.  Black,  gray,  brown,  white,  according  to  the 
monk's  order. 

A  Friar's  Costume  for  Robin  Hood,  and  such  plays, 
would  have  the  head  bare,  and  tonsured,  and  the  hood 
hanging  down  the  back,  not  over  the  face.  A  "jolly  friar" 
would  be  plumper  than  this  grave  monk. 

COSTUME  PLATE  4 

(For  plays  and  pageants  of  mediaeval  history) 

Man  in  Armor.    Arthurian  Knight.    Crusader,  etc. 
(This  picture  is  taken  from  the  statue  of  James  Van 
Artveld,  1300-1345.) 


no  COSTUME  PLATES 

Period.  This  type  of  armor  was  worn  from  the  fifth  to 
the  fifteenth  century,  and  as  armor  is  very  difficult  for 
amateurs  to  manage,  this  chain  armor  may  be  substi- 
tuted for  the  heavier  armor,  so  that  it  will  include  Arthur 
and  his  Knights,  and  the  Crusaders. 

Countries.  Can  be  used  for  England  (Cornwall),  Wales, 
Ireland,  France,  Germany,  Holland,  Flanders. 

Color.  This  armor  is  silver  gray.  The  tunic  is  white. 
The  belt  may  be  of  colored  leather,  russet,  scarlet,  blue. 
Or  it  may  be  of  metal,  or  silver  or  gold.  The  border  may 
be  black,  or  match  the  leather  belt  in  color. 

Arthurian  Knight.  For  an  Arthurian  Knight  of  the 
Fifth  and  Sixth  Centuries  have  chain  armor,  with  blue 
and  gold  or  scarlet  and  gold  belt  and  sword  strap.  Or  have 
a  tunic  of  rich  color,  and  no  belt,  and  the  sword  carried. 
With  the  white  tunic  the  cloak  may  be  green,  or  scarlet, 
or  blue — any  appropriate  color,  but  no  pastel  shade.  He 
should  wear  a  casque — see  picture  in  any  large  dictionary, 
and  he  should  have  a  long  oval  shield  with  a  coat  of  arms 
on  it. 

Crusader.  The  white  tunic  should  come  to  the  knee 
and  should  be  sleeveless.  On  the  breast  should  be  a  large 
red  cross.  He  should  not  wear  the  cloak  except  when 
wrapped  around  him  for  cold  weather.  The  cloak  can  be 
carried  by  his  squire,  a  lad  dressed  in  a  tabard.  See 
page  31. 

Medieval  Man  in  Armor.  The  costimie  for  a  mediae- 
val man  in  armor  is  exactly  right  as  it  stands  from  the 
eighth  to  the  fifteenth  century. 

For  further  detail,  and  Ust  of  books  showing  both  chain 
and  iron  armor,  see  Chapter  on  Costumes  imder  "Costumes 
of  Great  Britian." 

Materials.    The  armor  was  metal,  the  tunic  linen,  the 


COSTUME  PLATE  4 


MAN  IN  ARMOR 


COSTUME  PLATE  5 


MEDLEVAL  YEOMAN 


COSTUME  PLATES  113 

belt  metal  covered,  or  leather,  or  doth  of  gold.  The  mantle 
of  wool,  in  the  early  centuries,  and  in  the  twelfth,  thir- 
teenth and  fourteenth,  it  might  be  silk  or  velvet,  if  desired. 
The  armor  can  be  made  by  stitching  tin  disks,  or  silver  paper 
disks,  or  disks  made  of  silver-gilt  canvas  to  a  union  suit. 
The  undersleeve  and  the  armor  for  the  instep  may  be 
made  of  the  gray  heavy  paper  used  for  putting  imder 
carpets. 

The  tunic  may  be  made  of  white  linen.  It  must  be 
thick.  The  cloak  can  be  made  of  canton  flannel  which 
now  comes  in  good  shades,  or  of  woolen  batiste. 

The  belt  may  be  made  of  leatherette  to  simulate  leather. 
Or  of  silver  gray  cloth  for  metal.  Or  of  cloth  of  silver  or 
gold.  This  can  be  cheaply  made  by  gilding  burlap  with 
radiator  bronze. 

COSTUME  PLATE  5 
(For  mediaeval  play,  pageant  or  festival) 

Robin  Hood  Costume.  Yeoman  Costume.  With 
changes,  A  MEDiiEVAL  Peasant  Costume.  Costume  for 
Fairy  Prince  or  Folk  Tale  Hero. 

Period.    From  the  TweKth  to  the  Fourteenth  Century. 

Countries.   England,  France,  Italy,  and  Germany. 

Color.  It  may  be  used  in  greens,  browns,  blues,  or  scar- 
lets, according  to  which  is  appropriate.  Plum  color,  and  ox- 
blood  red  also  worn. 

Materials.  For  suit  and  cloak,  canton  flannel,  or  woolen 
batiste,  or  cloth.  The  tights  may  be  silk,  or  a  dyed  union 
suit.  The  tall  soft  shoes  with  roUed  over  tops  can  be  made 
from  men's  socks,  either  black  or  dyed  to  match  the  suit. 
The  hat  is  felt.  The  girdle  and  pouch  are  of  leather,  and 
can  be  imitated  in  leatherette. 


114  COSTUME  PLATES 

Robin  Hood.  A  suit  of  forest  green,  with  shoes  and 
tights  to  match.  A  forest  green  hat  and  cloak.  Belt  and 
pouch  of  brown  leather.  The  same  for  his  Merry  Men.  The 
tunic  was  still  greatly  worn,  and  this  coat  may  be  made  like 
a  tunic,  if  desired,  and  the  hat  can  be  a  green  cap  with  a 
quill  in  it. 

Yeoman  Costume.  Drop  the  leather  pouch  and  cloak, 
and  the  horn,  and  place  on  his  head  a  round  cap  with  or 
without  a  quill,  or  a  round  peaked  cap.  Have  the  costume 
in  deep  blue  or  leaf  brown,  or  black.  Instead  of  a  coat,  a 
tunic  the  same  length  may  be  worn. 

Medieval  Peasant.  The  belt  and  pouch,  cap  and 
cloak  and  horn  would  be  omitted,  and  the  costume  would  be 
serge,  dark  blue  or  brown. 

Fairy  Prince.  The  colors  could  be  purple  or  scarlet,  or 
vivid  blue  with  a  green  cloak  and  black  shoes.  The  pouch 
would  be  omitted,  and  the  belt  would  be  cloth  of  gold 
studded  with  jewels.    See  Chapter  on  Costumes. 

Children's  Costume  of  this  period  can  be  found  in  Cos- 
tume Plate  42. 

COSTUME  PLATE  6 

(For  mediaeval  play,  pageant  or  festival,  or  for  folk  dance. 
For  operettas  such  as  amateur  versions  of  Robin  Hood, 
etc.   For  old  EngUsh  May  day  festivals) 

Woman's  Peasant  or  Maid  Marion  Costume.  Jean 
D'Arc  Peasant. 

Period.  From  the  Twelfth  to  the  Sixteenth  Century. 
May  be  the  basis  for  costimies  of  other  centuries  if  the  head 
covering  is  removed. 

Countries.  England,  Flanders,  Germany,  France,  Italy, 
Holland.      • 


COSTUME  PLATE  6 


MEDLEVAL  PEASANT  WOMAN 


COSTUME  PLATES  117 

Color.  May  be  brown,  blue,  black,  red,  plum,  gray. 
Head  covering  may  match  dress  or  be  of  contrasting  color. 
Bodice  and  skirt  should  be  of  the  same  color.  Soft  shoes 
should  be  gray  or  brown. 

Materials.  The  dress  of  mediaeval  peasants  was  serge.  If 
this  is  too  heavy  for  festivals  or  pageants,  or  too  inexpensive, 
have  cambric,  with  the  unglazed  side  worn  outward,  or 
plain  chalhe.  Do  not  put  peasants  into  pastel  shades  or 
Ught  blue  and  pale  green.  They  did  not  wear  such  colors. 
Shoes  of  oilcloth,  or  cloth. 

Maid  Marion.  Leaf  brown  costmne,  with  green  head 
covering,  and  green  leather  belt  and  pouch  bag.  Leaf 
brown  must  be  worn  by  Marion  for  the  same  reason  that 
Robin  Hood  and  his  Merry  Men  wore  green — so  that  their 
enemies  might  not  see  them  jflitting  through  the  green- 
wood. 

Peasant  Woman.  The  average  peasant  woman  may 
wear  the  hues  described  imder  Color,  in  a  previous  para- 
graph. Where  there  is  a  crowd  of  peasants  on  the  stage  the 
producer  should  try  to  have  as  great  a  variety  of  plain  dark 
colors  as  possible,  with  here  and  there  a  flash  of  orange  or 
scarlet. 

Jeanne  D'Arc  Peasant  Dress.  Jeanne  should  be  with- 
out the  head  covering  and  the  dress  should  be  gray  or 
brown. 

This  dress  without  the  head  covering  and  with  a  white 
apron  may  be  worn  by  peasant  women  in  the  latter  part 
of  the  fifteenth  and  all  of  the  sixteenth  centuries.  See 
chapter  on  Costumes. 

Is  good  for  peasants  in  The  Pied  Piper. 

Children  Costumes.  For  children's  costimies  see  Costume 
Plate  42. 


ii8  COSTUME  PLATES 

COSTUME  PLATE  7 

(For  historical  or  fanciful  plays,  fairy  plays,  pageants  and 

festivals) 

Medleval  Prince  or  Peasant.  Fairy  Prince.  Me- 
DLEVAL  Courtier. 

Period.   Twelfth  to  Fifteenth  Century. 

Countries.  England,  France,  Ireland,  Flanders,  Holland, 
Italy,  Germany. 

Colors.  In  any  solid  color  save  light  or  pastel  shades. 
May  be  brocade  for  nobles. 

Materials.  For  nobles,  silk  tights,  silk,  satin,  or  velvet 
tunic.  Belt  of  leather,  gilded,  or  cloth  of  silver  with  jewels. 
Soft  leather  or  brocade  shoes.  For  peasants  the  material 
would  be  serge,  hut  no  peasant  might  wear  the  long  "dagged" 
oversleeve.  The  shoes,  tights  and  belt  of  a  peasant  would  be 
coarse,  and  he  would  have  no  sword. 

Medleval  Prince.  Purple  tunic.  Gold  belt.  Cloth  of 
gold  imder  sleeves,  and  dagged  sleeve  lined  in  yellow. 
Purple  tights  and  shoes.  To  make  brocade  shoes  for  prince 
or  nobles,  use  furniture  tapestry.  Soft  leather  shoes  may  be 
simulated  by  cutting  off  the  tops  of  old  shoes,  if  they  have 
no  "patent  tips." 

Medieval  Peasant.  Blue,  dark  green  or  brown  serge. 
Leather  belt.  No  trimming  on  tunic.  No  dagged  "over- 
sleeve." The  sleeve  of  a  white  imbleached  Unen  shirt 
should  come  through  the  armhole,  or  the  tunic  would  simply 
have  a  tight  sleeve  of  its  own  material.  Brown  soft  shoes  for 
the  peasant  might  be  made  of  oilcloth. 

A  King  or  Courtier  might  wear  a  long  tunic,  coming  to 
the  ankle  and  open  down  the  front  over  a  short  under  tunic. 
The  costume  would  have  the  same  sleeves,  belt,  tights  and 
shoes  as  in  the  picture.    The  long  tunic  would  be  the  one 


COSTUME  PLATE  7 


MEDLEVAL  PRINCE  OR  LORD 


COSTUME  PLATE  8 


MEDLEVAL  LADY  OR  PRINCESS 


COSTUME  PLATES  121 

thing  different.  This  would  give  variety  to  the  scene. 
The  long  tunic  might  be  edged  with  fur,  or  if  the  long  tunic 
were  a  plain  color  it  might  have  a  handsome  brocade  border. 
It  is  variety  iq  cut  that  gives  interest  to  a  scene,  but  the 
variety  must  be  authentic. 
Children's  Costume  ol  this  period.    See  Costume  Plate  42. 

COSTUME  PLATE  8 

(For  plays,  either  historic,  fairy  or  fanciful,  and  for  pageants 
and  festivals,  and  antique  masques) 

Court  Lady  or  Queen  Costume.  Fairy  Play  Cos- 
tume. Sleeping  Beauty.  Court  of  Jeanne  D'Arc 
Costume. 

Period.  Thirteenth  to  Fifteenth  Century  with  the 
hennin,  or  peaked  hat.  Without  tite  peaked  hat,  and  with  a 
veil  bound  about  the  head  with  a  circlet,  Tenth  to  Thir- 
teenth Century. 

Color.  Any  rich  color,  saffron,  deep  blue,  royal  purple, 
white,  crimson,  and  rich  brocade  for  court  costume.  For 
fairy  tales  lighter  colors  may  be  used.  The  trimming  may 
be  ermine,  sable,  gold,  silver  or  pearls.  See  Chapter  on 
Costumes. 

Materials.  Silk,  satin,  brocade,  velvet.  Can  be  imitated 
by  silkoline,  glazed  cambric,  heavy  cretonnes  or  cotton 
tapestry,  and  deep  colored  canton  flannel  for  velvet.  The 
hat  should  be  made  of  white  stiff  cambric,  and  covered  with 
silk,  or  gold  or  silver  tissue.  The  veil  may  be  chiffon,  or  an 
automobile  veil  will  do.  The  hennin  need  not  match  the 
dress,  but  it  must  harmonize  with  it.  A  gold  hennin  with  a 
purple  dress,  a  silver  hennin  with  a  green  dress.  White 
hennins  went  with  all  colors  and  were  much  worn.  See 
Jeanne  d'Arc,  by  Boutet  de  Monvel. 


122  COSTUME  PLATES 

Court  Ladies.  Court  ladies  wore  rich  colors,  but  not 
pastel  shades. 

Queen.  A  queen  would  wear  white,  or  purple,  or  scarlet 
and  gold.  No  one  but  those  of  royal  blood  might  wear 
purple  in  England.    See  Chapter  on  Costumes. 

Fairy  Plays,  Sleeping  Beauty,  etc.  Have  soft  pastel 
colors  for  these.  The  Sleeping  Beauty  might  wear  pale  rose 
pink  satin  and  silver. 

For  Children's  Costumes  of  this  period,  see  Costume 
Plate  42. 

COSTUME  PLATE  9 
(For  historical  plays,  pageants,  festivals,  masques) 

Shakespeare.  Columbus.  Sir  Walter  Raleigh. 
Henry  Eighth  of  Englaiw.  Francis  First  of  France. 
Fairy  Tale  King.    The  Prince  in  Cinderella. 

Period.  The  Sixteenth  Century,  or  more  strictly  speak- 
ing, 1490  to  1600. 

Color.  For  historical  plays,  plain,  rich  colors,  rather  dark, 
with  the  cloak  lined  in  gay  silk  or  satin.  For  Fairy  plays, 
pastel  colors  may  be  used.  The  cloak  suit  and  foot  gear  are 
generally  of  the  same  color,  the  cloak  is  lined  with  a  con- 
trasting color.  Thus  the  suit  might  be  royal  blue,  and  the 
cloak  lined  in  orange,  or  white.  The  doublet  may  be 
slashed  with  a  contrasting  color,  if  desired.  The  suit  here  is 
given  without  the  slashing,  as  it  is  easier  for  amateurs  to 
copy. 

Materials.  The  doublet  and  cloak  were  made  of  brocade 
or  velvet.  The  cloak  was  lined  in  satin.  The  hose  and 
shoes  were  of  fine  material,  the  shoes  velvet  or  soft  leather, 
the  hose  silk.  The  hat  was  velvet,  and  had  a  curled  plume — 
a  short  plume.    The  ruff  was  sheer  lawn.    The  scabbard  of 


COSTUME  PLATE  9 


ELIZABETHAN  COURTIER 


COSTUME  PLATES  125 

the  sword  was  often  gold,  encrusted  with  gems  if  the  wearer 
was  a  king. 

Shakespeare.  Brown  velvet  suit,  and  hose.  The  cloak 
lined  in  com  yellow. 

Columbus.  Plum  colored  velvet  suit,  the  doak  lined  in 
saffron,  and  the  doublet  slashed  with  the  same. 

Sir  Walter  Raleigh.  Bright  blue  velvet  suit,  the 
cloak  lined  in  white  satin. 

Henry  Eighth.  Traditional  costume  of  black  velvet,  the 
cloak  lined  in  brilliant  scarlet. 

Francis  First  of  France.  Purple  brocade,  the  doak 
lined  in  white. 

Fairy  Tale  King.  Gray  brocade,  the  doak  lined  in 
ermine. 

Fairy  Tale  Prince.  Green  brocade,  the  cloak  lined  in 
pale  pink  satin. 

Children's  Costumes.  The  costumes  for  children  of  the 
court  of  this  period  were  like  those  of  their  elders.  Boys  of 
the  court  wore  a  costume  like  this,  without  the  cloak.  Royal 
pages  wore  the  cloak  or  a  tabard.    See  page  39. 


COSTUME  PLATE  10 

(For  historical  and  fantastic  plays,  and  for  pageants  and 

festivals) 

Court  Lady.  Queen  Elizabeth.  Cinderella  at 
the  Ball,  etc. 

Period.    The  Sixteenth  Century  (1490-1600). 

Countries.  England,  Ireland,  Scotland,  France,  Germany, 
Italy,  Spain,  Holland,  Flanders. 

Color.  The  dress  was  almost  always  of  a  different  color 
from  the  under  petticoat.   Very  often  the  dress  was  brocade, 


126  COSTUME  PLATES 

and  the  petticoat  plain.  Or  both  petticoat  and  dress  might 
be  the  same  color  if  desired.  A  black  brocade  dress,  opening 
on  a  petticoat  of  pale  pink,  with  a  border  of  black  and  gold. 
Or  a  blue  and  gold  brocade,  opening  on  a  petticoat  of  the 
same,  without  a  border.  The  sleeves  were  slashed  with  a 
different  color  from  the  dress.  That  is,  if  the  dress  was 
moss-green,  the  sleeves  would  be  slashed  with  pink  satin,  or 
silver  brocade  or  white.   The  ruff  was  always  white. 

Materials.  Silks,  satins  and  brocades  were  in  vogue,  with 
a  ruffle  of  gauze  at  the  wrist,  and  point  lace  ruffs.  See 
chapter  on  Costuming.  Glazed  cambric,  cotton  tapestry, 
will  imitate  these. 

Court  Lady.  Might  wear  any  of  the  colors  suggested 
imder  the  caption  Color. 

Queen  Elizabeth.  Purple  brocade,  trimmed  with 
yellow  and  gold  embroidery.  Sleeves  slashed  with  yellow 
satin.  The  bodice  outlined  in  ermine.  Pearls  bound  about 
her  hair.   A  striking  white  lace  collar. 

Cinderella  at  the  Ball.  Pale  pink  brocade,  with  under 
petticoat  of  pale  blue  satin,  embroidered  with  silver  and 
pearls.    Sleeves  slashed  with  white.    Silver  gauze  at  wrists. 

This  is  a  court  costume;  for  a  house  dress  of  the  same 
period,  bring  the  tight  bodice  up  to  the  neck,  and  finish  with 
a  ruff  of  white  gauze  going  all  the  way  round  the  neck. 

Children.  Little  girls  of  the  nobility  wore  dresses  exactly 
like  this,  but  their  ruff  might  be  lower.  See  Chapter  on  Cos- 
tuming. 

Peasants.    For  peasants  of  this  period,  see  page  39. 


COSTUME  PLATE  lo 


ELIZABETHAN  LADY 


COSTUME  PLATE  ii 


INDIAN  CfflEFTAIN 


AMERICAN  AND  ENGLISH  COSTUMES 
FOR  ADULTS  AND  CHILDREN 

COSTUME  PLATE  ii 

(For  Indian  plays,  Indian  pageants,  and  for  American 
historical  pageants.     For  a  festival  of  nations) 

Indian  Chief.  Hiawatha,  if  changes  are  made.  In- 
dian Brave. 

Period.   Early  Seventeenth  Century  to  the  present. 

Colors.  Khaki-tan.  Fringe  of  the  same.  Red,  green, 
yellow  beadwork  on  tunic  and  moccasins. 

Material.  The  material  is  dressed  deerskin  in  reality,  but 
it  can  be  copied  by  having  khaki  instead,  with  beads  in  a 
design.  The  moccasins  may  be  khaki,  beaded  and  painted, 
or  tan  tennis  shoes  beaded  with  fringe.  The  real  moccasins 
are  best  if  they  can  be  had.  The  headdress  must  be  of 
eagle's  feathers,  which  can  be  imitated  by  long  hen's 
feathers,  or  quills. 

Indian  Chief.    The  same  as  in  picture. 

Hiawatha.  The  same  as  in  picture,  if  so  desired,  but  in 
reality  Hiawatha  wore  a  loin  cloth,  and  great  chains  of 
bear's  teeth  and  wampum. 

Indian  Brave.  Indian  brave  would  not  wear  the  same 
head  dress  as  the  chieftain.  He  would  wear  a  bead  band 
bound  across  his  brows,  and  a  single  quill  or  two  or  three 
quills  standing  up  in  the  back. 

For  full  description  of  Indian  costimaes,  beadwork, 
blankets,  wigwams  and  all  Indian  properties,  see  chapter  on 
Costumes  in  play  of  Pocahontas  in  Patriotic  Plays  and 

139 


I30  COSTUME  PLATES 

Pageants,  by  C.  D.  Mackay.    For  other  books  giving  pic- 
tures of  costumes,  see  Chapter  on  Costumes  in  this  volume. 


COSTUME  PLATE  12 
(For  plays,  pageants,  festivals  of  the  nations) 

Indian  Princess.  Indian  Girl.  Squaw.  Pocahon- 
tas. 

This  dress  is  primarily  for  an  Indian  Princess,  and  as 
given  here  it  shows  its  most  fantastic  aspect — an  aspect 
only  to  be  used  in  fantastic  festivals.  The  actual  Indian 
Maiden  or  Princess  never  wore  feathers  or  quills  of  any 
sort — only  an  Indian  headband,  beaded. 

Indian  Princess.  This  costume  in  khaki,  as  the  tan 
shade  looks  like  dressed  deerskin.  The  tunic  must  be  made 
without  buttons,  and  sUp  on  over  the  head.  The  feathered 
headband  must  not  be  worn.  Instead  a  beaded  headband. 
The  rest  of  the  costume  is  accurate  for  a  Princess.  Have 
the  stockings  tan  colored  to  match  the  moccasins.  Or 
better  yet,  let  the  girl  have  her  ankles  bare  and  stain 
them  brown.  The  costume  for  a  Princess  may  be  heavily 
beaded. 

Indian  Girl.  This  costume,  made  tunic  fashion,  no 
headdress,  of  the  same  material  as  described  for  Princess, 
but  without  beading. 

Squaw.  The  same  as  for  Indian  Maiden.  The  Squaw 
would  have  a  bright  colored  blanket.  This  may  be  made 
of  canton  flannel,  in  gay  strips.  (See  descriptions  for 
Princess  Pocahontas  in  Patriotic  Plays  and  Pageants,  by 
CD.  Mackay.) 

Pocahontas.  The  traditional  dress  of  Pocahontas  was 
white  deer  skin  which  can  be  imitated  by  white  canton 
flannel,  heavy  beading  on  costume  of  blue  and  scarlet. 


COSTUME  PLATE  12 


'M 


INDIAN  GIRL 

Copyright  by  The  Butterick  Co.,  New  York  City 

Pattern  7299— Indian  Costume  for  Ladies,  Misses  and  Girls.  9  Sizes:  26  to  42  inches  Bust 
Measure.  Price,  15  Cents.  As  shown  on  figure,  36  inches  bust  requires  3J  yards  of  material 
50  inches  wide,  with  IJ  yard  of  crinoline  or  canvas  25  inches  wide  to  line  collar,  bead-dress, 
cuffs,  tabs  and  belt.  A  oeautiful  and  realistic  Indian  costume  is  given  in  this  design.  Suitable 
materials  are  imitation  leather,  khaki,  broadcloth,  sateen  or  doeskin.  The  fringes  that  are 
used  to  trim  the  costume  are  simply  strips  of  the  material  which  have  been  slashed  and  a  bead 
trimming  is  used.  An  Indian  head-dress  decorated  with  bright  feathers  and  Indian  moccasins 
of  buckskin  will  make  effective  additions  to  the  costume. 


COSTUME  PLATE  13 


INDIAN  BOY 

Copyright  by  The  Butterick  Publishing  Co.,  New  York  City 

Pattern  2839 — Boys'  Play  Suit.  5  Sizes:  4  to  12  Years.  Price,  15  Cents.  As  shown  on 
figure,  8  years  requires  3J  yards  of  material  27  inches  wide,  with  I  yard  of  material  27  inches 
wide  for  fringe  and  8J  yards  of  tape.  Khaki  was  the  material  used  to  develop  the  suit  as 
shown  in  the  illustration.  The  fringe  also  is  of  khaki,  but  may  be  of  red  cotton  cloth  or  of 
leatherette.  For  a  fancy-dress  costume,  the  whole  suit  may  be  of  leather.  The  head-dress  of 
eagle  feathers — any  kind  of  feathers  with  black  tips  will,  of  course,  answer— and  the  moccasins, 
which  may  be  elaborately  beaded  if  desired,  are  required  to  complete  the  costume.  This  play 
suit  is  a  great  favorite  with  all  the  little  boys. 


COSTUME  PLATES  133 

Indian  hair  can  be  made  by  cutting  black  cheesecloth 
into  strips,  and  braiding  it.  It  should  be  fastened  to  a  skull- 
cap of  black  cheesecloth,  and  hang  from  it.  A  beaded 
headband  worn  with  this  covers  up  any  deficiencies.  This 
will  solve  the  problem  for  blonde  girls  who  need  black 
Indian  hair. 

See  that  the  faces,  arms,  necks  and  ankles  of  the  Indian 
girls  are  stained  brown.  There  is  nothing  more  ridiculous 
than  a  "white"  Indian. 


COSTUME  PLATE  13 

(For  plays,  pageants,  festivals  and  in  especial  for  American 

pageants) 

Indian  Boy. 

Period.    The  Seventeenth  Century  to  the  present. 

Color.    Khaki. 

Material.    Khaki  or  tan  colored  cambric,  or  denim. 

Indian  Boy.  This  is  a  fantastic  costume  as  it  stands, 
and  may  only  be  used  for  children's  festivals.  The  actual 
Indian  boy  for  plays  or  pageants,  would  wear  a  tunic  that 
was  made  in  the  same  shape  as  this  costume,  but  it  is  not 
buttoned  down  the  front.  It  slips  over  the  head.  Other- 
wise the  costume  may  be  made  the  same  as  the  one  in  the 
costume  plate.  But  no  Indian  boy,  except  in  play,  would 
wear  a  head  dress.  This  is  the  conventionalized  Indian. 
Real  Indian  boys  never  wore  so  much  clothing,  but  where 
masses  of  Indians  are  used  in  outdoor  plays  and  pageants 
the  conventionalized  attire  has  been  found  the  most  satis- 
factory in  the  end. 


134  COSTUME  PLATES 

COSTUME  PLATE  14 

(For  historical  plays  and  pageants,  in  especial  American 
historical  pageants) 

Puritan.  Pilgrim.  Roundhead.  With  certain  changes, 
Dutch  Settler  in  New  Amsterdam,  or  Quaker. 

Period.    The  seventeenth  century. 

Countries.    England,  America,  Holland. 

Color.  Gray,  brown,  black,  dark  blue,  very  dark  plum, 
dark  brown. 

Material.  Serge  or  woolen  cloth.  Never  silk  or  satin. 
See  chapter  on  Costumes. 

Puritan.  Dark  blue,  brown,  plum,  or  black  suit  and 
cloak,  made  of  serge.  Black  hat.  White  collar  and  cuflfs. 
Black  shoes  and  stockings.  If  gloves  are  worn  they  are 
brown  gauntlets.    See  chapter  on  Costumes. 

Pilgrim.    The  same  as  Puritan. 

Roundhead,  or  follower  of  Cromwell  in  England.  The 
same  dress  as  for  Puritan. 

Dutch  Settler.  The  Dutch  settlers  in  New  Amster- 
dam, and  up  and  down  the  Mohawk  valley  wore  the  same 
dress  as  the  Pilgrim,  save  that  it  might  be  m  brighter  colors, 
and  velvet  and  silk  might  be  worn,  though  as  the  Dutch 
were  thrifty,  it  was  only  worn  for  best.  The  Dutch  wore 
the  "pork  pie"  hat,  but  its  brim  was  straighter  than  the 
Puritan. 

Quaker.  This  costmne  in  Quaker  gray,  with  a  "William 
Penn"  hat.    (See  pictures  of  William  Perm.) 

Children.  The  attire  of  children  was  similar  to  that  of 
their  elders,  though  they  wore  no  long  cloaks.  Boys  did 
not  wear  the  pork  pie  hat,  they  had  of  tener  a  small  entirely 
round  black  cap.    Usually  they  went  bareheaded. 

Cavalier.    The  Cavalier  was  the  exact  opposite  of  the 


COSTUME  PLATE  14 


PILGRIM  OR  PURITAN  MAN 


COSTUME  PLATE  15 


PILGRIM  OR  PURITAN  WOMAN 


COSTUME  PLATES  137 

Puritan,  and  Cavalier  costumes  are  fully  described  on 
page  44.  But  in  imagination  this  Puritan  costimie  may 
be  made  the  model  for  a  Cavalier  costume  by  the  following 
changes:  Have  a  Cavalier  wide-brimmed  hat  turned  up 
at  the  side  with  a  buckle.  Have  a  sweeping  plume.  Have 
long  love  locks  or  ringlets  sweeping  over  the  shoulders 
instead  of  the  short  hair  in  the  picture.  Have  the  coat 
sleeveless  and  of  leather,  and  the  cuffs  and  collar  of  pointed 
lace.  Have  the  shirt  of  the  finest  linen  with  bishop  sleeves. 
Have  the  breeches  of  gay  velvet,  with  huge  rosettes  and 
hanging  ribbons  at  the  knee  band.  Have  the  stockings  of 
silk  and  the  shoes  of  fine  leather,  or  else  have  high  leather 
boots.  Have  a  velvet  cloak,  and  line  it  in  violet  or  green, 
or  scarlet  silk.  Then  you  will  have  a  fuU-fledged  Cavalier. 
See  pages  44  and  45. 

Children  of  Cavaliers  (Royalists).  Boys  wore  the 
same  as  the  Cavaliers  only  in  miniature.  See  pages  44 
and  45. 

COSTUME  PLATE  15 

(For  play,  pageant — in  especial  an  American   historical 
pageant — or  a  festival) 

Pilgrim.  Puritan.  Priscilla.  Rose  of  Plymouth 
Town. 

Materials.  Serge.  Homespun  woolen.  Imitated  in 
canton  flannel  for  winter  or  cambric  for  summer. 

Colors.  White  lawn  kerchief  and  cuffs  (never  lace). 
White  lawn  cap.  Dress  may  be  black,  brown,  gray,  blue, 
deep  red,  deep  plum,  or  tan. 


138  COSTUME  PLATES 

COSTUME  PLATE   i6 

(For  historical  play  or  pageant,  in  especial  for  American 
historical  pageants  or  festivals) 

Myles  Standish.  Pilgrim  Soldier.  Puritan  Sol- 
dier. A  Roundhead  Soldier.  Cardinal  Richelieu's 
Guard.  With  certain  changes  can  be  Captain  John 
Smith  or  Elizabethan  Soldier. 

Period.    1 590-1 700. 

Countries.  America,  England,  France,  Italy,  Holland, 
Flanders,  Spain. 

Color.  The  color  of  the  coat  and  breeches  worn  under  the 
armor  would  be  determined  by  the  country  of  the  wearer. 
The  armor  would  be  black  or  steel  gray.  The  ruff  white. 
The  gauntlets  brown. 

Material.  Coat  and  breeches  worn  under  the  armor  would 
be  serge  or  cloth.  In  some  instances  the  coat  would  be 
leather  and  the  breeches  serge.  The  shoes  leather  and  the 
stockings  stout  woolen  ones — woven  or  knitted.  The 
gauntlets  are  leather.   The  ruff  is  lawn. 

Myles  Standish.  Brown  serge  breeches.  Brown 
leather  coat.  Brown  shoes  and  stockings.  Brown  gaunt- 
lets. He  wears  a  white  Pilgrim  collar,  made  of  lawn,  but 
never  a  ruff.   Armor  the  same  as  any  armor. 

Pilgrim  Soldier.   Same  as  Myles  Standish. 

Puritan  Man  at  Arms.  Brown  or  blue  serge.  Much 
the  same  as  Myles  Standish. 

A  Roundhead  Soldier.    The  same  as  Myles  Standish. 

Cardinal  Richelieu's  Guard.  Dull  crimson  cloth. 
Dark  brown  shoes  and  stockings.  Everything  the  same  as 
in  the  accompanying  costume  plate  except  the  brown 
leather  gauntlets  which  are  fringed. 

Captain  John  Smith.    Exactly  the  same  type  of  armor, 


COSTUME  PLATE  i6 


PURITAN  OR  ELIZABETHAN  MAN  AT  ARMS 


COSTUME  PLATES  141 

but  instead  of  low  shoes  and  woolen  stockings,  he  wears 
boots  that  come  to  the  knee.    Plum  colored  suit. 

Elizabethan  Soldier.  The  same  as  in  costume  plate, 
save  that  the  breeches  may  be  slashed  with  a  different 
color — red  slashed  with  white. 


COSTUME  PLATE  17 

(For  historical  play,  or  pageant.     Especially  American 
historical  pageant) 

Court  Lady.  Royaust.  American  Colonist.  Anne 
OF  Austria. 

Countries.  America,  in  the  South,  and  in  New  York,  not 
in  New  England.  Li  England,  France,  Holland,  Flanders, 
Spain,  Italy. 

Period.    The  Seventeenth  Centiuy  (1600-1690). 

Colors.  Any  solid  color  in  any  shade  except  pastel  shades. 
Crimson,  tawny  brown,  blue,  green,  gray,  black.  The 
collar  and  cuffs  were  always  white. 

Materials.  For  court  ladies,  velvet,  satin  and  silk.  Bro- 
cade was  not  now  so  much  worn.  For  everyday  wear,  woolen 
cloth  and  serge.  The  bodice  might  or  might  not  have 
a  border,  as  desired.  The  collar  and  diffs  would  be  plain 
lawn  for  a  serge  dress — but  it  must  be  sheer  lawn.  For  a 
silk  or  satin  dress  they  should  be  of  the  finest  lace.  With 
a  court  dress  the  cap  might  be  velvet,  or  satin.  Or  it  might 
be  cloth  of  silver  or  gold,  trimmed  with  pearls,  or  edged  with 
a  narrow  rim  of  ermine.  For  royal  persons  the  border  on 
the  bodice  might  be  ermine  or  miniver.  See  Chapter  on 
Costumes. 

Court  Lady.  For  dress  of  any  court  lady,  see  preceding 
paragraphs. 

Royalist.    The  followers  of  King  Charles  in  England 


142  COSTUME  PLATES 

were  called  Royalists,  and  this  is  the  dress  of  a  Royalist 
lady. 

American  Colonist.  For  English  women  who  came  to 
America,  and  who  were  not  Pilgrims  or  Pmitans,  this  dress 
in  cloth  or  serge,  in  quiet  colors,  with  lawn  cuffs  and  sleeves. 
For  great  occasions  satin  or  velvet. 

Anne  of  Austria.  This  costume  in  rich  materials,  was 
that  worn  at  the  court  of  Louis  XIII  of  France.  For  Anne 
of  Austria,  or  her  ladies,  it  should  be  as  gorgeous  as 
possible. 

Children.  Children  of  any  court  wore  what  their  elders 
wore.  Little  girls  would  wear  a  costume  Hke  this,  with  just 
as  long  a  skirt,  and  their  hair  tucked  under  a  cap.  See 
page  46. 

COSTUME  PLATE  18 

(American  historical  pageant,  American  history  play. 
Dutch  pantomime  or  festival.  Also,  after  changes 
have  been  made,  fairy  or  folk  play) 

Dutch  Settler.  Girl  of  Holland.  With  certain 
changes  Peasant  in  Folk  or  Fairy  Play  for  Children. 

Dutch  Settler.  This  was  the  everyday  attire  worn  by 
the  wives  and  daughters  of  settlers  in  New  Amsterdam  and 
the  Mohawk  valley.  The  costume  may  be  worn  from  1600 
to  the  present. 

Color.  Black  bodice.  White  guimp.  Skirt  of  the 
most  brilliant  hues,  either  striped  or  plain.  White  apron 
with  colored  patches.  White  cap  embroidered  in  bright 
hues.  This  was  everyday  attire,  and  in  Holland  is  still 
everyday  attire.  For  best  a  velvet  bodice,  a  finer  skirt,  and 
a  lace  cap  and  apron. 

Materials.    The  skirt  may  be  homespun,  or  coarse  muslin 


COSTUME  PLATE  17 


ROYALIST  LADY 
For  description,  see  page  14s 


COSTUME  PLATE  i8 


DUTCH  PEASANT  GIRL 

For  description,  see  page  142 

Copyright  by  The  Butterick  Publishing  Co.,  New  York  City 

PatUm  6352 — Dutch  Peasant  Dress  and  Bonnet  for  Ladies,  Misses  or  Girls.  7  Sizes:  26 
to  38  inches  Bust  Measure.  Price,  IS  Cents.  As  shown  on  figure,  the  medium  size  requires 
)  yard  of  material  36  inches  wide,  with  i  yard  of  lace  18  inches  wide  for  crown  and  revers 
I  yard  of  banding  for  bonnet,  I  yard  of  material  27  inches  wide,  with  2\  yardsof  banding, 
for  bodice,  2J  yards  of  material  32  inches  wide  for  blouse,  3|  yards  of  material  44  inches 
wide  for  skirt  and  2|  yards  of  material  36  inches  wide,  with  J  yard  of  material  32  inches 
wide  for  apron.  The  blouse  is  of  dotted  muslin,  the  bodice  of  sflk  and  the  skirt  and  apron  of 
gingham.    This  costume  may  be  very  quickly  put  together. 


COSTUME  PLATES  145 

for  everyday,  and  the  bodice  of  homespun  or  serge.  The 
guimpe  of  unbleached  muslin.  The  cap  of  white  muslin 
embroidered.  The  apron  white  muslin  patched  with  gay 
muslin.  Or  it  may  not  he  patched  at  all.  No  well  brought  up 
Dutch  girl  would  wear  a  patched  apron  to  market.  This 
would  only  be  worn  in  her  own  dooryard,  or  in  a  hasty 
moment  when  she  ran  to  watch  a  man  being  put  in  the 
stocks.  For  best  the  bodice  is  velvet,  the  guimpe  fine  lawn, 
the  skirt  bright  blue,  red,  tulip  yellow,  green,  startling 
violet,  or  purple.  The  apron  is  lace,  and  can  be  made 
from  an  old-fashioned  lace  window  curtain  with  a  sprawling 
pattern  on  it.  The  cap  was  also  white  lace  on  these  occa- 
sions. The  stockings  are  bright  wool.  The  shoes  wooden. 
Discarded  shoes  covered  with  cream  colored  oilcloth  can 
be  made  to  do. 

Peasant  in  Fairy  or  Folk  Play.  Do  not  use  the  lawn 
cap  or  the  wooden  shoes.  Have  the  hair  in  two  braids,  and 
have  low  plain  black  shoes.  Have  the  bodice  as  it  is,  and  the 
guimpe,  and  have  the  skirt  in  plain  material.  This  will  do 
for  any  folk  or  fairy  play,  where  the  daughter  of  wood- 
cutter, or  a  charcoal  burner,  or  a  farmer  is  to  be  personified. 

For  Dutch  Man,  see  Costume  Plate  14. 

COSTUME  PLATE  19 

(For  historical,  romantic,  fanciful  plays  or  operettas,  and 
for  occasional  use  in  American  historical  pageants.) 

Eighteenth  Century  Pirate.  With  changes.  Captain 
Kjdd,  a  Pirate  of  Penzance,  or  a  Treasure  Island 
Pirate.  With  other  changes,  an  Elizabethan  Pirate, 
or  a  Late  Eighteenth  Century  or  Early  Nineteenth 
Century  Pirate.  Also  with  changes,  an  Eighteenth 
Century  Highwayman.     (Beau  Brocade.)     With  still 


146  COSTUME  PLATES 

other  changes  a  Gentleman  of  the  Early  Eighteenth 
Century,  or  a  Tradesman  or  Servingman  of  the  Early 
Eighteenth  Century. 

Period.  With  various  changes,  Elizabethan  to  the  early 
nineteenth  century,  but  most  strongly  suited  to  the  early 
eighteenth  century. 

Countries.  England,  France,  America,  Spain.  The 
High  Seas.  The  Spanish  Main.  (The  Great  North  Road 
for  the  Highwajrman.) 

Color.  According  to  use  of  costume.  There  was  always 
a  touch  of  flaring  color  about  a  pirate  costume,  while  this 
costume,  adapted  for  civiUan  use,  would  be  in  quiet  colors. 

Materials.    According  to  the  period  of  costume  desired. 

Eighteenth  Century  Pirate.  Same  costume  as  in 
the  illustration.  White  shirt.  Dark  green  coat  and  knee 
breeches.  Rolled  back  cuff  of  brilliant  scarlet.  Red  stock- 
ings. Black  shoes.  Black  hat.  Tan  leather  belt.  Front 
locks  of  hair  caught  with  wisps  of  scarlet. 

Captain  Kidd.  His  costume  would  differ  from  that  in 
this  picture.  A  white  shirt.  Full  scarlet  breeches.  A 
black  Zouave  jacket,  without  sleeves.  A  bright  blue  sash, 
with  a  dirk  and  a  brace  of  pistols  stuck  in  it.  Long  black 
boots  coming  to  the  knee.  No  belt  or  straps  on  suit  as  in 
this  picture.  Hair  worn  lank  and  wild,  and  bound  about 
the  brows  with  a  red  strip.  Huge  roimd  gold  earrings  in 
ears.  He  may  wear  a  black  cloak,  if  desired,  but  no  coat. 
He  would  wear  this  rather  than  the  one  in  the  costimie  plate, 
since  he  was  executed  in  1701,  before  these  coats  were  in 
fashion.    A  round  cutlass  can  be  made  out  of  small  scythe. 

Pirates  of  Penzance.    Same  as  Captain  Kidd. 

Treasure  Island  Pirates.  Same  as  Captain  Kidd, 
though  differing  in  color.  See  any  illustrated  edition  of 
Treasure  Island.   Pirates  did  not  always  wear  beards.  More 


COSTUME  PLATE  19 


EIGHTEENTH  CENTURY  PIRATE 
For  description,  see  page  145 


"^ 


COSTUME  PLATES  149 

often  they  wore  fierce  up-curling  mustaches,  or  were  smooth 
shaven. 

Elizabethan,  Late  Eighteenth  Century,  and  Early 
Nineteenth  Century.    Same  as  Captain  Kidd. 

Highwayman  of  the  Eighteenth  Century.  He  should 
look  less  of  a  brigand,  and  more  debonair  than  this  accom- 
panying plate.  He  should  be  smooth  shaven,  and  his  hair, 
in  its  natural  color,  should  be  worn  in  a  queue.  Knee 
boots  of  black  leather.  The  coat  in  the  picture,  with  the 
belt  worn  under  it,  instead  of  outside  it.  A  brace  of  pistols 
stuck  in  this  belt.  White  linen  stock,  and  small  jabot. 
This  same  hat  in  silk  or  velvet.  A  rapier  instead  of  sword. 
His  suit  may  be  black  velvet  or  cloth,  with  scarlet  satin 
cuflFs.  A  full  black  riding  cloak  may  envelope  him.  There 
should  be  a  touch  of  the  dandy  about  him.  See  Baroness 
Orszy's  Beau  Brocade. 

Gentleman  of  the  Early  Eighteenth  Century. 
This  coat  in  fine  cloth  or  velvet,  in  gray,  old  rose,  brown, 
blue  or  black,  usually  a  quiet  color.  It  must  have  fine 
buttons.  Satin  cuffs  of  a  contrasting  shade  to  the  coat. 
The  pockets  embroidered  in  gold  or  silver  braid.  A  white 
linen  stock  and  jabot  of  lace.  Shirt  of  white  linen,  the 
sleeve  ending  in  a  lace  ruffle.  He  should  have  a  silk  or 
satin  waistcoat,  plain  or  brocaded.  He  should  wear  no 
belt  or  shoulder  straps.  Fine  silk  stockings.  Low  shoes, 
with  diamond  or  silver  buckles.  A  white  curled  wig.  (See 
page  48.)  A  hat  like  the  one  in  the  costume  plate,  either 
of  black  velvet  or  fine  black  felt.  He  should  be  smooth 
shaven.  The  costume  should  be  worked  out  in  two  colors, 
like  gray  and  old  rose,  or  black  and  old  gold. 

Tradesman  or  Servingman  of  the  Early  Eighteenth 
Century.  The  coat  in  the  costume  plate  in  plain  doth, 
and  in  dull  colors.    The  cuffs  in  this  case  may  be  the  same; 


I50  COSTUME  PLATES 

color  as  the  coat,  or  contrasting.  They  must  be  of  cloth, 
not  silk  or  satin.  No  belt  or  shoulder  strap.  A  very  plain 
waistcoat  may  or  may  not  be  worn.  There  should  be  no 
lace  jabot,  only  a  plain  white  stock,  with  perhaps  the  hint 
of  a  linen  ruffle.  No  lace  ruffles  at  wrist,  though  a  linen 
ruffle  may  be  worn  for  a  state  occasion.  Low  black  shoes 
without  buckles.  Woolen  stockings.  Hair  in  a  queue, 
unpowdered.  Hat  of  felt,  hke  one  in  costume  plate.  Both 
the  tradesman  and  servingman  should  be  smooth  shaven. 

COSTUME  PLATE  20 

(For  historical  plays,  historical  pageants,  and  in  especial  for 
American  pageants  and  fourth  of  July  celebrations) 

Colonial  Costume.  Also  English  aistd  French  Cos- 
tume. With  changes  an  American  Minute-man  Cos- 
tume. Also  George  Washington  Costume.  American 
Soldier  under  Washington. 

Period.    1 700-1 800. 

Countries.    England,  America,  France. 

Colors.  The  colors  are  solid  colors,  except  where  state 
coats  of  brocade  are  used.  The  colors  vary  with  the  use  of 
the  costume,  and  the  country  it  belongs  to. 

Materials.  The  materials  vary  according  to  what  the 
costume  is  used  for.  Everyday  Colonial  costimie  and 
Minute-men  Costumes  are  made  of  cloth.  Costumes  for 
minuets,  and  for  balls  and  state  occasions  are  made  of  silk 
and  satin  and  velvet.  Particularly  is  this  true  of  English 
costume  comedy  of  the  type  of  The  Adventures  oj  Lady 
Urusala,  by  Anthony  Hope.  Naturally  the  colors  and 
materials  of  the  French  Revolution,  for  which  this  costume 
is  appropriate,  must  vary  very  greatly,  for  some  will  be  the 
costumes  of  the  aristocrats  and  some  of  the  Revolutionists. 


CX)STUME  PLATE  20 


COLONIAL  COSTUME 

Copyright  by  The  Butterick  Co.,  New  York  City 

Pattem  6235 — Continental  Suit  for  Men  and  Boys:  consisting  of  a  Hat,  Coat,  Vest  and 
Knee- Breeches.  10  Sizes:  26  to  44  inches  Breast  Measure,  being  in  S  Sizes  for  Boys  from  26 
to  34  inches  Breast  Measure  (8  to  17  Years),  and  in  6  Sizes  for  Men  from  34  to  44  inches 
Breast  Measure.  Price  of  pattem,  IS  Cents.  As  shown  on  figure,  36  inches  breast  measure 
will  require  4f  yards  of  material  20  inches  wide,  with  6}  yards  of  braid  and  IJ  yard  of 
edging  4  inches  wide  for  frills  for  coat;  2\  yards  of  material  27  inches  wide  for  vest  and 
breeches;  for  hat,  |  yard  of  material  20  inches  wide,  with  I  yard  of  material  27  inches  wide, 
aad  I  yard  of  canvas  25 ;  1  yard  of  edging  4  inches  wide  for  jabot. 


COSTUME  PLATES  153 

Colonial  Costume.  For  everyday  wear,  brown,  blue, 
black,  or  green  cloth.  Also  gray  and  plum  cloth.  Do  not 
use  red — it  instantly  suggests  the  redcoats.  For  state 
occasions  these  same  colors  in  satin,  velvet  and  silk.  Also 
in  pink  and  white  and  blue  and  white  and  yellow  and  purple 
brocades. 

English  Costume.  In  plays  like  Beaucaire  this  costume 
should  be  made  to  look  as  magnificent  as  possible,  the 
ruffles  and  jabot  even  more  exaggerated.  Clerks  and  inn 
boys  and  tradesmen  may  wear  a  white  shirt,  linen,  not  lace 
ruffles,  the  vest  and  trousers,  but  not  the  coat.  Only  gentle- 
men wore  powdered  hair. 

French  Costume.  This  costume  may  be  worn  by  the 
aristocrats  in  fine  materials  and  color,  and  by  the  Revolu- 
tionists in  sober  rough  cloth.  No  Revolutionists  would  wear 
a  powdered  wig.  But  the  aristocrats  always  wore  them — 
even  to  the  last  moment  at  the  guillotine.  They  can  be 
made  by  stitching  white  cotton  batting  to  a  skullcap  of 
white  cambric. 

American  Minute-man.  Take  off  the  velvet  coat,  and 
the  waistcoat,  and  have  the  white  shirt  for  the  upper  part 
of  the  costmne.  Roll  up  the  sleeves  to  the  elbow.  Have  the 
knee  breeches  the  same  as  in  the  picture.  The  three  cor- 
nered hat  is  also  the  same,  but  the  Minute-man's  wig  is 
unpowdered.  His  natural  hair  is  worn  in  a  queue.  A 
powder  horn  is  slung  about  his  shoulders  by  a  leather 
strap.  To  vary  this  costume,  the  vest,  unbuttoned,  as  if 
just  slung  on,  breaks  the  monotony  of  a  nimiber  of  Minute- 
men  coming  hurriedly  to  the  call  to  arms  in  a  pageant.  The 
Minute-men  may  also  wear  gaiters,  tan  colored.  As  the 
Minute-men  change  into  American  soldiers  this  costume 
may  still  do  for  a  basis.  See  George  Washington  Cos- 
tume. 


154  COSTUME  PLATES 

George  Washington  Costume.  This  costume  may  be 
used  in  two  ways  for  the  Father  of  his  Country.  As  it 
stands,  in  buff,  gray,  or  plum,  it  may  be  the  costume  for 
Washington  before  the  Revolution,  or  after  the  Revolution, 
Washington  in  civiKan  dress,  the  country  gentleman  at 
Mt.  Vernon.  Any  of  the  shades  suggested  will  do  for  this. 
For  a  military  costume  this  same  costume  may  be  used  as  a 
basis.  Use  this  coat  in  blue.  Have  a  white  vest  and  white 
knee  breeches.  Have  white  cuffs  with  gold  braid  and  mil- 
itary buttons  on  the  coat,  and  no  ruffles  at  the  wrist.  The 
coat  should  be  trimmed  with  white  broadcloth  and  gold 
braid.  (See  any  picture  of  George  Washington  in  Military 
dress.)  There  should  be  gold  fringed  epaulets,  and  gold  mil- 
itary buttons  on  the  coat.  The  hat  and  wig  of  the  costume 
plate  are  excellent  for  the  costume  of  Washington.  There 
should  be  high  boots,  and  a  long  blue  military  coat  lined  in 
red.  See  the  following  books  for  pictures:  On  the  Trail  of 
Washington,  by  Frederick  Trevor  Hill;  The  American 
Soldier,  by  Elbridge  S.  Brooks;  American  Hero  Tales, 
by  Theodore  Roosevelt.     See  also  page  49. 

American  Soldier  under  Washington.  Infantry 
coats  were  blue,  lined  in  white,  with  white  buttons.  New 
England  troops  had  white  facings.  New  York  and  New 
Jersey,  buff  facings.  Pennsylvania,  Delaware,  Maryland 
and  Virginia,  facings  of  red.  Troops  of  the  Carolinas  in 
blue,  with  white  buttonholes.  All  artillery  coats  were 
lined  and  faced  in  scarlet,  their  buttons  and  hat  bands 
were  yellow.  Light  dragoons  or  cavalry  had  blue  coats, 
white  facings,  linings  and  buttons. 


COSTUME  PLATE  21 


BRITISH  OFFICER 
For  description,  see  page  157 


COSTUME  PLATE  22 


EIGHTEENTH  CENTURY  BRITISH  SOLDIER 


COSTUME  PLATES  157 

COSTUME  PLATE  21 

(For  historical  plays,  historical  pageants,  and  in  especial 
for  American  historical  pageants) 

British  Officer  of  the  American  Revolution. 

Period.     1 768-1 780. 

Countries.    England,  America. 

Colors.  Scariet  coat.  White  waistcoat.  White  breeches. 
Black  boots  with  spurs,  (jold  buttons  and  epaulets.  Red 
hat  with  white  and  gold  rosette.    White  rujffles  at  wrist. 

Materials.  Coat,  broadcloth.  Waistcoat  and  breeches 
of  broadcloth.  Braid  made  of  gold.  Ruffles  of  linen  or 
lace,  or  fine  net.    Hat  of  felt. 

COSTUME  PLATE  22 

(For  historical  plays  and  pageants,  in  especial  for  American 
historical  pageants) 

British  Soldier  of  the  American  Revolution. 
Hesslan. 

Period.    1 768-1 780. 

Countries.    England,  America. 

Colors.  Scarlet  coat,  and  breeches.  White  waistcoat. 
White  aiffs.  Gold  epaulets.  Black  fur  hat.  White  band 
crossing  breast.    White  stockings. 

Materials.  Suit  and  vest  of  broadcloth,  or  cloth.  Cuffs 
of  white  broadcloth.  No  ruffles.  Gold  braid  on  suit.  Hat 
of  fur.  Band  crossing  breast  of  broadcloth.  White  woolen 
stockings,  and  black  shoes.  For  scenes  in  action  substitute 
black  knee  "Hessian"  boots,  on  occasion. 


1S8  COSTUME  PLATES 

COSTUME  PLATE  23 

Trapper.  Daniel  Boone.  Young  George  Wash- 
ington. 

Period.  1750  to  1800  in  the  East.  1750  to  1820  in  far 
West. 

Color.    Khaki. 

Materials.  In  reality  the  material  was  dressed  deerskin, 
but  it  can  be  simulated  by  khaki  or  tan-colored  canton 
flannel.  Leather  gaiters.  Coonskin  cap  for  Boone.  Deer- 
skin cap  for  George  Washington. 

COSTUME  PLATE   24 

American  Sailor.    1770  to  the  present. 

The  caps  worn  by  the  sailors  of  1770  to  1800  were 
peculiar  and  exceedingly  difficult  for  amateurs  to  copy,  so 
perhaps  the  shght  anachronism  of  this  cap  may  be  per- 
mitted. The  trousers  did  not  flare  as  much  as  these  do  now. 
They  should  be  made  wider  at  the  top,  and  the  same  width 
around  the  edge  for  a  sailor  of  Revolutionary  days. 

COSTUME  PLATE  25 

Colonial  Lady.  French  Aristocrat.  English  Lady 
OF  THE  Eighteenth  Century.  Marie  Antoinette. 
Martha  Washington. 

Period.    1778-1800.    After  the  American  Revolution. 

Countries.    America,  England,  France. 

Color.  Plain,  solid-colored  petticoat,  in  soft  shade.  Over- 
dress of  different  color,  flowered,  or  striped.  Colors  were 
now  soft,  pastel  tinted,  save  where  bright  yellow  or  red 
petticoats  were  worn  with  a  yellow  or  red-sprigged  dress. 
Fichu  white. 


COSTUME  PLATE  23 


EIGHTEENTH  CENTURY  TRAPPER 


COSTUME  PLATE  24 


fc 


Id 


SAILOR,  REVOLUTIONARY,  CIVIL  WAR,  MODERN 


COSTUME  PLATES  i6i 

Material.  Muslin,  lawn,  silk,  satin.  See  chapter  on 
Costumes. 

Colonial  Lady.  For  morning  wear  white  silk  petti- 
coat. Dress  of  pale  blue  muslin  flowered  in  pink.  White 
muslin  fichu.  Black  slippers  with  silver  buckles.  White 
stockings.  Evening  wear,  and  for  state  occasions:  Pink 
petticoat,  made  of  satin.  Brocaded  overdress  of  cobalt 
blue  brocade,  flowered  with  silver  roses,  or  rose  pink  roses. 
Lace  fichu  and  wrist  ruffles. 

French  Aristocrat.  The  same  type  of  costume  as  for 
Colonial  Lady.  The  colors  may  vary  as  desired.  For  a 
matron,  black  satin  flowered  in  gold  and  worn  over  a  yellow 
petticoat  would  make  a  striking  costume.  Cretonne  may 
simulate  brocade. 

English  Lady  of  the  Eighteenth  Century.  The 
same  as  for  Colonial  Lady. 

Marie  Antoinette.  This  costume  in  rich  brocades  in 
her  days  of  good  fortune,  with  a  wide  lace  fichu,  her  hair 
dressed  high,  with  many  powdered  curls,  and  with  pearls 
and  roses  as  a  head  dress.  Slippers  to  match  her  dress. 
Diamond  buckles  on  them.  Scarf  of  hand  painted  gauze, 
or  of  jeweled  gauze.  For  her  last  days,  a  muslin  dress  of 
white,  sprigged  in  gray,  opening  over  a  white  petticoat. 
Or  a  gray  muslin  sprigged  in  faint  blue,  opening  over  a 
gray  petticoat.  Muslin  fichu  and  niffles.  The  dress  to  be 
devoid  of  coquetry. 

Martha  Washington.  This  costume  in  lavender,  white 
and  purple,  or  cobalt  blue  and  white.  Lawns  for  morning 
wear,  with  a  silk  petticoat,  silk  and  satin  and  brocade  for 
dress  occasions. 

For  this  period  a  shorter  dress  was  worn.  Cut  ofiF  this 
under  petticoat  at  the  ankles.  Cut  off  the  overdress  to 
the  ankles,  and  then  loop  it  up,  fastening  it  with  gathers 


i62  COSTUME  PLATES 

at  the  hips.  The  bodice  may  be  exactly  the  same,  save  that 
the  sleeves  come  to  the  elbow.  The  materials  and  colors 
are  the  same.  For  further  detail,  and  for  suggestions  for 
cloaks,  muffs,  etc.,  for  winter  wear,  see  chapter  on  Cos- 
tumes. 

Children's  Dress.  Little  girls  wore  the  short  petti- 
coat, coming  to  the  ankles,  and  the  pannier.  See  Costume 
Plate  of  Colonial  Girl. 

For  further  detail  of  how  to  make  these  dresses  out  of 
cheesecloth  and  cambric,  see  descriptions  for  "Marie  An- 
toinette F^te,"  in  Patriotic  Plays  and  Pageants,  by  C.  D. 
Mackay,  entitled  Benjamin  Franklin  Episode. 

COSTUME  PLATE  26 

Colonial  Girl.  English  Girl  or  Child  of  Eight- 
eenth Century.  Little  Daughter  of  French  Aris- 
tocrat, etc.,  etc. 

Period.    1 778-1800. 

Countries.    America,  England,  France. 

Color.  The  softest  colors,  pink,  blue,  pale  green,  pale 
yellow. 

Materials.    Lawn,  muslin,  satin,  silk,  brocade. 

Colonial  Girl.  Pale  green  petticoat.  Over  dress  of 
white  sprigged  with  apple-blossom  pink.  The  petticoat 
may  be  glazed  cambric,  the  overdress  cotton  cretcsine. 
This  will  be  a  good  imitation  of  brocade  and  satin.  Re- 
member that  in  the  morning  lawn  and  silk  or  musUn  were 
worn;  fine  lace  brocade  and  satin  was  for  the  late  afternoon 
and  evening. 

English  Girl  or  Child  of  the  Eighteenth  Century. 
The  same  as  for  Colonial  Girl. 

French  Aristocrat.    The  same  as  for  Colonial  Girl, 


COSTUME  PLATE  25 


COLONIAL  LADY 

For  description,  see  F>age  158 

G>pyright  by  The  Butterick  Publishing  Co. 

PaUem  6169 — ^Ladies',  Misses',  or  Girk'  Martha  Washington  Costume.    9  Sizes:  26  to  42 

inches  Bust  Measure.  Price,  15  Cents.  As  shown  on  figure,  36  inches  bust  measure  requires 
6|  vards  of  material  36  inches  wide  for  upper  skirt  and  body,  with  7  yards  of  material  36 
inches  wide  for  underskirt,  fichu,  sleeve  frills  and  fnlls  to  trim.  As  shown  in  the  illustration, 
figured  silk  was  used  for  the  dress,  with  batiste  for  the  fichu  and  underskirt  and  frills.  Lawns 
and  siikoiines  may  also  be  used.    The  underskirt  is  usually  in  a  plain  color  or  whke. 


COSTUME  PLATE  26 


COLONIAL  GIRL 

For  description,  see  page  162 

Copyright  by  The  Butterick  Publishmg  Co.,  New  York  City 

Paltern  6169 — Girb',  Misses'  or  Ladies'  Martha  Washington  Costume.  9  Sizes:  26  to  42 
inches  Bust  Measure.  Price,  15  Cents.  As  shown  on  figure,  30  inches  bust  measure  or  12 
years  requires  5|  yards  of  material  36  inches  wide  for  upper  skirt  and  body,  with  4}  yards  of 
material  36  inches  wide  for  underskirt,  1  yard  of  material  36  inches  wide  for  fichu  and  frills  to 
trim  and  1|  yard  of  edging  7  inches  wide  for  frills.  Figured  silkoline  was  used  for  the  costume 
as  illustrated,  with  the  underskirt  of  plain  silkoline  harmonizing  in  color  with  the  dress,  and 
with  the  fichu  of  white.  The  sleeve  iiills  are  of  lace  edging.  A  white  wig  may  be  worn  or 
one's  own  hair  may  be  powdered. 


COSTUME  PLATES  t6$ 

though  with  all  these  the  shades  of  the  costume  may  vary. 
See  chapter  on  Costimies  for  cloaks,  muffs,  etc.,  etc. 

Previous  to  and  During  the  American  Revolution 

From  1 760-1 7 78,  this  costxmie  may  be  used  as  a  basis. 
Cut  off  the  petticoat  to  the  ankles.  Cut  off  the  over  dress 
to  the  ankles,  and  loop  it  up  at  each  side,  with  panniers. 
Very  often  Uttle  girls  wore  no  fichu — ^just  the  Colonial 
dress.  And  often  for  very  little  girls  the  dress  on  page  153, 
without  the  hanging  sleeve,  and  made  in  flowered  muslin 
would  be  perfectly  appropriate. 


COSTUME  PLATE  27 

(For  play,  pageant,  or  one  of  the  gentry  looking  on  at  a 
folk  festival) 

Period.  1800-1830.  Worn  in  England,  America,  Ire- 
land and  France. 

With  certain  changes  may  be  worn  by  American  Gentle- 
man, English  Gentleman,  Lafayette,  Beau  Brummel, 
Napoleon,  James  Madison. 

Materials.  Cloth  for  general  wear,  with  silk  waistcoat. 
Silk  and  velvet  for  court  wear.  Fine  linen  shirt,  and  black 
satin  stock. 

Colors.  A  quiet  solid  color;  no  brocade,  or  bright  color 
was  worn. 

Gentleman's  Costume.  Blue  brown  or  black  doth. 
Silk  stockings.  Leather  slippers.  Silk  or  satin  waistcoat. 
Fine  linen  shirt.  Black  satin  stock — a  black  satin  ribbon 
wound  round  a  white  lawn  high-standing  collar  will  do. 
A  tall  beaver  hat. 

Lafayette.  If  Lafayette  did  not  wear  his  uniform,  his 
civilian  dress  would  be  like  this,  probably  in  French  blue, 


i66  COSTUME  PLATES 

with  a  buff  silk  waistcoat,  white  shirt,  black  stock  or  cravat 
as  it  was  often  called.  Black  shoes  and  stockings.  For 
daytime  the  material  would  be  cloth,  for  evening  and 
affairs  of  state,  satin  or  velvet. 

Beau  Brummel.  The  pictures  in  Clyde  Fitch's  Beau 
Brummel  will  show  how  this  costume  may  be  made  the 
basis  of  a  costimie  for  Beau  Brummel.  Brummel  affected 
tights,  rather  than  knee  breeches,  and  usually  wore  brown. 
With  a  taU  beaver  hat  and  tights  this  costume  will  do 
admirably.    The  suit  wiU  otherwise  be  the  same. 

Napoleon.  Look  at  a  picture  of  Napoleon,  and  see 
how  readily  this  coat  can  be  given  the  Napoleon  cut.  With 
epaulettes,  and  a  ribbon  bright  with  orders,  the  coat  blue, 
and  the  stockings  and  knee  breeches  white.  Napoleon's 
costume  for  formal  affairs  can  be  easily  copied. 

James  Madison.  For  James  Madison,  this  suit  in  quiet 
solid  colors  is  excellent  as  it  stands.    It  needs  no  changes. 

Children.  For  boy's  dress  of  this  period,  see  Plate  45, 
and  the  books  of  Kate  Greenaway. 

For  amateurs  who  cannot  afford  to  hire  this  suit,  or 
make  it,  an  old  black  evening  suit  can  be  made  to  do. 
Make  the  trousers  into  knee  breeches.  Put  colored  but- 
tons, collar  and  cuffs  on  the  suit.  (They  should  be  made 
of  velvet.)    This  will  be  found  to  do  very  well  indeed. 

COSTUME  PLATE  28 

(For  historical  plays  romantic  plays,  semi-historical  plays, 
and  in  especial  for  American  historical  pageants) 

Morning  or  Afternoon  Dress  for  Lady. 
Countries.    England,  France,  America,  Austria,  Italy. 
Period.    1800-1830. 
Color.     White,   any   pastel    shade,   no   crude    colors. 


COSTUME  PLATE  27 


GENTLEMAN  OF  EARLY  igtli  CENTURY 
For  description,  see  page  165 


COSTUME  PLATE  28 


LADY  OF  EARLY  19th  CENTURY 
For  description,  see  page  166 


COSTUME  PLATES  169 

Sprigged  muslin  was  very  popular — the  sprigs  must  be 
tiny  and  dainty.  Also  plain  light  colors  might  have  a 
border  of  flowers  around  the  edge  of  the  dress.  A  pale  blue 
muslin  might  have  a  border  of  roses — the  border  wide. 

Materials.  All  stiff  formal  materials  had  gone  out. 
Brocades  and  velvets  had  vanished.  The  materials  used 
were  soft  silks,  like  china  silk,  silk  muslin,  muslin,  or- 
gandie, mull,  soft  woolen  material.  The  scarfs  were  of 
muslin  or  chiffon,  generally  in  a  plain  color.  Hats  were  of 
straw,  trimmed  with  silk  muslin.  Poke  bonnets  were  worn, 
particularly  in  winter.  The  costmnes  belonged  to  the  time 
of  Jane  Austin's  Pride  and  Prejudice,  Beau  Brummel,  and 
it  was  in  such  attire  that  American  ladies  welcomed  La- 
fayette on  his  visit  to  America.    See  page  52. 

As  has  been  said,  this  is  a  morning  or  afternoon  dress,  but 
it  is  not  an  evening  dress.  For  an  evening  dress  of  that 
period,  take  off  the  hat.  Wind  the  hair  high  on  the  head, 
and  have  little  curls  on  the  side.  Have  the  dress  as  it  is 
now,  with  short  sleeves  added.  Have  the  same  low  slippers 
and  necklace,  and  the  dress  is  complete.  See  Chapter  on 
Costuming. 

For  winter  wear,  a  short-waisted  longcloth  coat,  with 
a  big  muff  and  a  poke  bonnet.  Huge  buttons  on  the  coat. 
Sleeves  and  neck  are  edged  with  fur.  See  pictures  in  Kate 
Greenaway's  books. 

Children.  For  dress  for  little  girl  of  this  period,  see 
Costume  Plate  42. 

COSTUME  PLATE  29 

(For  American  historical  plays,  pageants,  and  tableaux,  in 
especial  for  American  historical  pageants,  and  plays 
like  Secret  Service) 


I70  COSTUME  PLATES 

Civil  War  Soldier. 

Period.    The  Civil  War. 

Countries.   America. 

Color.  Blue  for  the  Northern  soldiers.  Gray  for  Southern 
soldiers. 

Materials.  Cloth.  Leather  bag  and  straps  of  leather  for 
knapsack. 

For  fuller  description  of  these  costumes,  see  page  53. 

The  costume  as  it  is  given  here  can  very  easily  be  copied, 
or  it  can  be  "faked"  by  clever  amateurs.  To  a  blue  or 
gray  Summer  suit  add  brass  buttons,  and  baste  stripes 
down  the  trousers:  also  put  the  right  insignia  on  the  arm. 
These  can  be  copied  from  list  of  books  given  on  page  53. 
A  cap  shaped  like  a  messenger's  should  be  used  with  these 
suits.  Blue  messenger's  caps  are  easily  obtainable.  A 
blue  cap  can  be  covered  with  gray  cloth  for  the  South. 
From  any  true  picture  of  the  Civil  War  one  can  copy  the 
effect  of  reality,  thus:  The  Confederates  were  very  ragged, 
and  for  battle  scenes  shirt  sleeves  and  gray  trousers  would 
do  very  well.  Also  in  such  scenes  the  Union  soldiers  might 
wear  blue  trousers  and  blue  flannel  shirts. 

As  a  rule  it  is  better  to  hire  these  costumes  for  pageants,  if 
the  committee  can  do  so,  especially  as  most  scenes  show  the 
soldiers  marching  away  or  returning,  rather  than  at  actual 
war,  and  in  these  cases  the  costume  worn  would  be  in 
better  shape. 

COSTUME  PLATE  30 

(For  plays  and  pageants) 

Man  in  Civil  War  Episode  of  American  Historical 
Pageant.     Man  in  Little  Women,  in  any  Lincoln 


COSTUME  PLATE  29 


CIVIL  WAR  SOLDIER 


COSTUME  PLATE  30 


MAN  OF  CIVIL  WAR  TIME 


COSTUME  PLATES  173 

Play,  in  such  plays  as  Trelawny  of  the  Wells,  Mile- 
stones, Captain  Jinks,  Secret  Service. 

Countries.  America,  England,  France,  Ireland. 

Period.    1860-1870. 

Color.  Black,  navy  blue,  or  gray.  The  waistcoat  plain  in 
sober  scenes  or  in  comedy  scenes  very  gaily  striped  or 
flowered. 

Material.  Serge  or  broadcloth.  An  old  overcoat  can 
often  be  re-cut  and  made  to  do  service  for  this  costimie. 
The  face  of  the  wearer  may  be  smooth  shaven  or  have  a 
mustache  or  immense  and  (comic)  side  whiskers — all  ac- 
cording to  the  type  of  play  desired. 

Children's  Costumes.  Little  boys  wore  the  same  kind  of 
jacket  as  the  little  girl  in  Plate  31.  They  also  had  the 
same  kind  of  undersleeve  as  their  soft  white  linen  shirts 
showed  beneath  the  sleeves  of  their  jackets.  Their  trousers 
should  be  long  and  loose. 

COSTUME  PLATE  31 

(For  old-fashioned  plays,  plays  of  the  Civil  War,  and  in 
especial  for  American  pageants) 

Lady  w^th  Little  Girl.  Civil  War  Matron.  Bar- 
bara Frtetchie.  For  characters  in  amateur  production  of 
Trelawny  of  the  Wells;  also  for  most  of  Dickens  Plays. 
For  any  Lincoln  Play.   For  Little  Women. 

Period.  1858-1870.  (It  should  be  noted  here  that  if 
amateurs  desire  to  produce  plays  from  the  period  of  1830- 
1858  for  which  no  costume  plates  are  given,  they  can  use 
this  dress  with  a  round  full  skirt,  without  the  hoops,  and 
with  a  plain  waist  with  a  linen  turn  over  collar.) 

Colors.  Any  solid  color.  No  pastel  colors.  Small  plaids 
and  checks  may  be  used  if  desired. 


174  COSTUME  PLATES 

Materials.  Silk,  poplin,  satin,  muslin.  This  is  an  after- 
noon dress,  or  a  dress  for  the  morning.  For  an  evening  dress 
the  same  type  of  skirt,  with  clusters  of  flowers  on  it.  A 
tight  fitting  bodice,  low  necked,  and  with  the  shortest  possi- 
ble sleeve.  In  evening  dress  the  materials  would  be  silk, 
silk  muslin,  satin,  or  tarlatan.  It  is  the  kind  of  costume 
worn  in  certain  Dickens's  plays  where  for  comic  effect,  the 
colors  may  be  very  bright,  like  bright  green  or  cerise.  In 
Trelawny  of  the  Wells,  bright  and  sober  colors  may  both  be 
worn.  For  balls  and  evening  parties,  gay  light  colors. 
For  amateur  productions  of  Captain  Jinks  have  silk  and 
tarletan. 

Civil  War  Matron  should  wear  subdued  colors,  nothing 
gay.  Or  sprigged  muslin.  The  same  is  true  for  any  Lin- 
coln play,  and  for  amateur  productions  of  Little  Women. 

Barbara  .Frietchie  should  wear  white,  and  Hght  colors. 
These  costumes  may  also  be  worn  for  amateur  productions 
of  Secret  Service. 

COSTUME  PLATE  32 

(For  plays,  and  naval  festivals) 

Modern  Admiral. 
Country.    United  States. 
Colors.    Blue  with  gold  braid. 
Material.    Broadcloth. 


COSTUME  PLATE  31 


LADY  OF  CIVIL  WAR  TIME 


COSTUME  PLATE  32 


A  MODERN  ADMIRAL 


COSTUME  PLATE  33 


PIERRETTE 

Copyright  by  The  Butterick  Publishing  Co.,  New  York  City 

Pattern  6027 — Pierrette  Costume  for  Ladies,  Misses  or  Girls.  7  Sizes:  26  to  38  inches  Bust 
Measure.^  Price,  IS  Cents.  As  shown  on  figure,  the  medium  size  requires  6i  yards  of  ma- 
terial 27_  inches  wide,  with  |  yard  of  cnnoline  or  canvas  25  inches  wide,  and  |  yard  of  buck- 
ram 25  inches  wide  to  line  brim.  The  design  as  shown  here  is  deveIop>ed  in  paper  cambric, 
wjth  hearts  of  the  same  material  in  a  contrasting  color.  Other  materials  which  may  be  used 
with  excellent  e£Fect  are  sateen,  taffeta,  satin  and  silk  mull.  The  skirt  and  ruff  may  be  of 
fluffy  chiffon;  in  that  case  the  long  sleeves  would  probably  be  omitted.  Large  dots,  or  in  fact 
figures  of  any  shape,  may  be  used  instead  of  the  hearts,  and  when  the  costume  is  of  silk  they 
may  be  of  velvet.    A  white  costume  with  black  or  red  hearts  is  very  effective. 


FANCIFUL  COSTUMES  FOR  ADULTS 

COSTUME  PLATE  33 
(For  fantastic  plays,  pantomimes,  mimic  carnivals) 

Pierrette  Costume.  With  certain  changes,  Queen  of 
Hearts. 

Period.  From  mediaeval  times  to  the  eighteenth  century 
and  onward  in  Italy.  From  the  eighteenth  century  onward 
in  England  and  France. 

Countries.  Italy,  England,  France,  Fantastic  No-Man's- 
Land. 

Color.  White,  with  black  hearts  on  the  costume.  A 
white  ruff.  A  white  cap  with  black  hearts  on  it.  Or  large 
black  polka  dots  may  be  used  instead  of  hearts.  Or  the 
hearts  may  be  red. 

Materials.  Either  white  silk  muslin,  with  an  under 
petticoat  of  silk,  and  a  stiff  white  muslin  ruff,  or  white 
tarlatan  or  chiffon,  with  the  red  or  black  hearts  very  del- 
icately fastened  to  it.  Pierrette  is  an  airy  creature.  She 
should  be  fairylike  in  appearance.  The  shoes  and  stockings 
may  be  black  as  in  the  plate,  or  they  may  be  white  to  match 
the  dress. 

Pierrette.  Pierrette's  costume  has  been  described 
under  Color  and  Material. 

Queen  of  Hearts.  This  same  dress  made  long  enough 
to  touch  the  floor,  with  the  border  of  hearts  round  the  edge, 
and  then  coming  up  the  middle  of  the  skirt  as  described  in 
this  picture.  Instead  of  the  ruff  let  the  dress  be  cut  a  little 
low,  and  edged  with  scarlet.    The  hearts  must  be  red  for  a 

179 


i8o  COSTUME  PLATES 

Queen  of  Hearts.  She  may  have  a  long  white  train  fastened 
to  her  shoulders,  lined  in  red,  and  with  either  a  border  of 
hearts  around  it,  or  a  huge  red  heart  in  the  center  of  it. 
Instead  of  this  cap  she  should  wear  a  crown,  made  like  a 
coronet,  and  it  should  have  a  row  of  gold  hearts  on  it.  Her 
scepter  should  be  gold  with  a  red  heart  tipping  it.  For  the 
King  of  Hearts  take  the  costume  on  Plate  7,  make  it  of 
white  and  red,  with  heart  decorations.  For  the  Knave  of 
Hearts  the  costume  plate,  in  white,  with  red  hearts  on  it. 
These  will  do  for  Mother  Goose  plays  and  festivals,  and  for 
Alice  in  Wonderland,  etc. 
For  Pierrot  see  Costume  Plate  46. 

COSTUME  PLATE  34 
(For  plays,  festivals,  and  operettas) 

Japanese  Man. 

Period.    1700  to  the  present. 

Colors.  Under-dress  of  rose,  with  black  design.  Sash 
of  rose.    Over-dress  or  kimono  of  rose,  with  gray  border. 

Materials.  Crepe,  cretonne,  or  silk.  Wooden  sandals 
are  worn,  fastened  over  the  bare  feet  with  leather  thongs. 
Bare  feet  may  be  simulated  by  tan  stockings.  The  sandals 
can  be  made  of  two  small  wooden  boxes,  of  the  same  size, 
or  pieces  of  wood  with  ordinary  wooden  spools  to  raise 
them  from  the  ground. 

COSTUME  PLATE  35 

(For  Japanese  play  or  operetta,  or  for  festival  of  nations  or 
Japanese  pantomime) 

Japanese  Girl  or  Woman. 

Period.  Any  imaginary  period  up  to  the  present. 

Color.    Softly  flowered  greens  or  blues  or  reds  or  purples. 


COSTUME  PLATE  34 


JAPANESE  MAN 


COSTUME  PLATE  35 


JAPANESE  LADY 

Copyright  by  The  Butterick  Publishing  Co.,  New  Yoik  City 

Pattern  5873 — Ladies',  Misses'  and  Girls'  Japanese  Kimono  or  Dress.  7  Sizes:  24  to  40 
inches  Bust  Measure.  Price,  15  Cents.  As  shown  on  figure,  the  medium  size  requires  6J 
yards  of  material  36  inches  wide,  with  1|  yard  of  material  27  inches  wide  for  bands  and  to 
trim  sleeves.  As  shown  on  the  figure  atrave,  the  design  is  developed  in  figured  crfipe,  with 
trimming-bands  of  satin.  Other  materials  are  silk  cr£pe  and  China  silk.  The  sash  may  be 
tied  ia  a  butterfly  bow  or  in  the  native  fashion.    In  the  latter  case  very  heavy  silk  is  needed. 


COSTUME  PLATES  183 

Material.  Japanese  crepe,  or  silk.  Can  be  imitated  by 
wearing  Japanese  furniture  cretonne,  or  adapting  any 
pretty  kimona  that  is  in  the  wardrobe  of  the  amateur. 

For  this  particular  costume  the  parasol  might  be  rose 
color,  the  dress  gray  blue  with  a  deep  blue  border,  and  a 
rose-colored  obi,  or  sash,  tied  in  a  huge  butterfly  bow  be- 
hind. 

COSTUME  PLATE  36 

(For  plays  and  festivals  of  the  Far  East.  For  plays  of  the 
Arabian  Nights  or  Arabian  night's  pantomimes  or  for 
an  Omar  Masque) 

Turkish  Lady.    Arabian  Lady.    Persian  Lady. 

Color.  According  to  the  country  represented,  and  the 
rank  of  the  lady.   As  a  rule,  brilliant  colors. 

Material.  Silk  and  velvet — can  be  imitated  by  silkoline 
and  canton  flannel,  though  only  settlements  or  schools  who 
cannot  afford  silk  and  velvet  should  use  this  device. 

Turkish  Lady.  This  dress  in  pale  blue,  white  and  pink, 
or  in  pale  gold,  white  and  black. 

Arabian  Lady.  Cover  the  dress  with  a  long  white  veil 
that  falls  almost  to  the  feet  and  shows  only  the  eyes. 

Persian  Lady.  This  costimie  with  trousers  of  blue  and 
gold  brocade,  a  blue  sash,  gold  jacket,  and  long  veil  showing 
only  the  eyes.  This  veil  may  be  drawn  about  the  face,  and 
hf  ted  or  glanced  through  with  sly  coquetry. 

A  Turkish  Man  would  wear  exactly  these  same  trousers, 
and  a  sash,  without  the  long  ends.  A  shirt  with  loose 
sleeves,  and  a  Turkish  jacket  as  in  this  picture.  He  would 
wear  a  red  fez,  with  a  black  tassel.  This  costume  can  thus 
easily  become  the  basis  for  a  man's  costume. 


i84  COSTUME  PLATES 

COSTUME  PLATE  37 
(For  play,  pageant,  and  in  especial  for  festival  of  nations) 

Spanish  Dancer's   Costume.     Carmen,   etc. 

Period.    1492  to  the  present. 

Countries.    Spain,  South  America,  Portugal. 

Colors.  The  costume  may  be  worked  out  in  orange  and 
black,  red  and  black,  or  purple  and  orange,  or  yellow  and 
black.   The  colors  must  be  in  strong  contrast. 

Materials.  Silk  skirt.  Silk  sash.  Velvet  bolero.  Lawn 
waist.  Silk  cap.  Instead  of  a  silk  cap  a  black  lace  mantilla 
may  be  worn,  and  the  hair  done  high  on  the  head  with  a 
huge  white  shell  comb,  or  a  tortoiseshell  comb.  The  earrings 
should  be  gold  or  coral  of  the  reddest. 


COSTUME  PLATE  36 


TURKISH  LADY 

For  description,  see  page  183 

Copyright  by  The  Butterick  Publishing  Co.,  New  York  City 

Pattern  7234— Turkish  Dress  for  Ladies,  Misses  or  Girls.  9  Sizes:  26  to  42  inches  Bust 
Measure.  Price,  15  Cents.  As  sho^n  on  figure,  the  medium  size  requires  1  yard  of  material 
27  inches  wide  for  crown  and  side  for  cap  and  front  and  back  for  jacket,  with  SJ  yards  36 
inches  wide  for  scarf,  scarf  end,  front  and  back  for  tunic  and  sleeves  for  jacket,  S|  yards  27 
inches  wide  for  trousers,  3 J  yards  25  or  more  inches  wide  for  sash,  1}  yard  of  fringe,  j  yard 
27  or  more  inches  wide  to  Ime  cap,  and  |  yard  25  inches  wide  to  interUne  cap.  The  Turkish 
dress  is  ideal  as  a  masquerade  costume,  for  it  is  universally  becoming,  and  it  offers  such  a 
splendid  opportunity  for  the  use  of  beautiful  color  combinations.  The  original  of  the  costume 
illustrated  here  shows  a  jacket  and  cap  of  bright  blue  velvet  prettily  trimmed  with  gold  braid, 
tunic,  sleeves  and  scarf  of  white  China  silk,  pink-satin  bloomers  and  a  sash  of  light  blue-silk 
mull.    Bead  banding  and  fringe  are  used. 


COSTUME  PLATE  37 


SPANISH  DANCING  GIRL 

For  description,  see  page  184 

G)p3rright  by  The  Butterick  Publishing  Co.,  New  York  City 

Pattern  6301 — Spanish  Dancers'  Costume  for  Ladies,  Misses  and  Girls.  7  Sizes:  26  to  38 
inches  Bust  Measure.  Price,  15  Cents.  As  shown  on  figure,  32  inches  bust  measure  requires 
51  yards  of  material  36  inches  wide  for  one  skirt,  with  3J  yards  of  material  36  inches  wide 
for  niching  to  trim  one  skirt,  i  yard  material  36  inches  wide  for  yoke,  3i  yards  of  material 
27  inches  wide  for  bolero  and  sash,  5J  yards  of  braid,  2  yards  of  ball  fringe  for  bolero,  2J 
yards  of  material  36  inches  wide  for  hat  and  blouse,  and  1^  yard  of  braid  for  hat. 


COSTUME  PLATE  38 


SANTA  CLAUS 

Copyright  by  The  Butterick  Publishing  Co. 

Pattern  6525— Santa  Claus  Suit:  consisting  of  a  Cap,  Coat,  Breeches  or  Knickerbockers  and 
Leggings.  4  Sizes:  34  to  46  inches  Breast.  Price,  15  Cents.  As  shown  on  figure,  38  inches 
breast  measure  requires  Si  yards  of  material  36  inches  wide,  with  J  yard  of  canvas  27  inches 
wide  for  belt,  2}  yards  of  braid  to  trim  belt,  4  yards  of  narrow  fur  banding  to  trim  coat,  5J 
yards  of  wide  fur  banding  to  trim  coat,  }  yard  of  fur  banding  to  trim  cap,  3^^  yards  of  bind- 
ing for  breeches  and  leggings,  and  1 J  yard  of  leatherette  30  inches  wide  for  leg^mgs.  A  Sant» 
Claus  costume  is  always  very  easily  put  together,  because  one  only  needs  bright  red  flannel, 
some  imitation  white  fur  trimming,  a  few  brass  bells  and  a  wide  belt  and  leggings  of  imitation 
leather.  With  the  addition  of  false  face  and  long  white  hair  and  beard,  the  Santa  Claus  cos- 
tume is  complete.  If  the  jolly  Saint  appears  carrying  a  pack  of  toys  and  accompaoied  by  • 
jingle  of  sleigh-bells,  the  children  will  surely  appreciate  these  totiches  of  realism. 


COSTUME  PLATE  39 


ELF 


COSTUMES  FOR  CHILDREN 

COSTUME  PLATE  38 
(For  play  or  festival) 

Santa  Claus.  Medleval  Father  Christmas.  St. 
Nicholas,  etc. 

Period.   From  mediaeval  times  to  the  present. 

Color.  Red  suit  and  cap  trimmed  with  white  fur,  and 
gold  bells.    Has  black  boots. 

Materials.  Red  canton  flannel  and  white  batting  for  fur, 
or  white  flannelette  may  be  used  as  a  border.  Boots  of 
black  oilcloth.  For  a  mediaeval  Father  Christmas,  or 
St.  Nicholas  have  a  gold  crown  instead  of  a  cap,  but  have 
the  same  ruddy  smiling  face  and  long  white  beard.  Have 
red  tights  and  soft  red  shoes,  edged  with  white  fur.  These 
same  tight  sleeves  should  be  worn,  and  over  them  a  flowing 
angel  sleeve  of  red  edged  with  white  fur.  The  hands  bare, 
no  pack  of  toys  or  bells,  but  instead  a  tall  white  staff  wound 
with  holly. 

COSTUME  PLATE  39 
(For  play,  pageant  or  festival) 

Elf.  Puck.  Robin  Goodfellow.  Brownie.  One  of 
the  Little  People.    Bumble  Bee.    Dwarf. 

Period.   Any  period  since  fairies  first  were  known. 

Countries.  All  the  happy  countries  that  have  fairies,  and 
all  the  countries  in  the  Fairy  Tales. 

Color.   According  to  the  colors  wanted. 

Materials.   Velvet,  canton  flannel,  cambric. 

189 


I90  COSTUME  PLATES 

Brown  is  the  color  for  an  elf  and  for  Puck.  Scarlet  for 
Robin  Goodfellow,  or  brown.  Brown  also  for  a  Brownie. 
Green  for  one  of  the  Little  People.  For  the  Little  Men  in 
Snow  White,  a  black  or  gray  suit,  and  a  long  beard  of  white. 
Instead  of  this  cap,  a  peaked  cap  of  black,  showing  the 
hair.  For  a  Bumble  Bee  this  suit  with  a  round  cap,  made  of 
yellow  and  black  striped  material,  or  canton  flannel  stitched 
together.  The  stripes  should  be  four  inches  wide.  Gray 
gauze  wings  made  on  wire  frames  should  be  stitched  to  the 
shoulders.  A  woolen  union  suit  dyed  the  desired  color  at  a 
dyeing  establishment,  or  at  home  with  Diamond  Dyes  will 
solve  the  problem  of  the  costume.  If  it  is  wanted  for  a 
summer  play,  and  a  woolen  suit  will  be  found  too  heavy, 
then  use  a  cotton  suit  one  size  too  large  to  allow  for  shrink- 
age, and  dye  it  with  Diamond  Dyes  especially  manufac- 
tured for  cotton  goods.  For  a  very  little  elf — and  crowds 
of  very  tiny  elves  are  sometimes  used  in  Fairy  plays — use 
women's  long  green  silk  stockings,  taking  them  in  until  they 
fit  the  elf.  Their  length  will  make  them  possible  for  a  small 
pair  of  tights.  Then  a  green  jacket  and  head  covering  can 
be  easily  made  to  go  with  them.  The  feet  of  the  stockings 
may  be  cut  off,  and  green  shoes  substituted.  The  toes  may 
turn  up  or  not,  as  desired.  These  turned  up  shoes  should  be 
made  of  canvas  covered  with  green. 

See  costumes  for  Children's  Plays,  page  55. 

COSTUME  PLATE  40 
(For  play,  pageant,  festival,  pantomime) 

Fairy.  Butterfly.  Moth.  Dryad.  Hamadryad. 
Spirit  of  Forest  Meadow,  or  Stream.  Greek  Girl. 
Roman  Girl.    With  changes,  Saxon  Peasant  Girl. 

Fairy.     Dress  of  chiffon,  silkoline  or  cheesecloth.     It 


COSTUME  PLATE  40 


FAIRY 


COSTUME  PLATES  193 

should  be  white  and  not  too  full.  Avoid  bunchiness. 
Wings  of  white  muslin,  made  on  a  wire  frame,  and  painted 
with  orange  and  turquoise  blue  eyes.  Or  with  gold  and 
silver.  Or  the  Fairy  may  have  no  wings  at  all.  Just  the 
white  dress  and  the  wand.  Wings  of  compo  board,  painted 
white,  and  then  decorated  with  "eyes"  are  also  possible. 
Compo  board  can  be  bought  wherever  architects'  supplies 
are  carried.   White  stockings.    Gk)ld  wand. 

Butterfly.  A  dark  brown  silkoline  or  cambric  (un- 
glazed)  dress.  Wings  of  brown  with  blue  "eyes"  or  of 
sheer  yellow — whatever  color  is  most  desired.  See  any 
good  butterfly  book,  and  copy  the  wings  from  that.  Brown 
stockings  and  shoes. 

Moth.  The  same  as  Butterfly,  save  that  the  wings  are 
dark  and  match  the  body.  The  eyes  on  the  wings  should 
be  of  dusky  gorgeousness.    See  any  good  book  on  Moths. 

Dryad.  A  dress  of  tree  trunk  brown  silkoline  made  over 
an  underslip  of  forest  green  silkoline  that  will  glint  through 
when  she  dances.  Leaf  brown  stockings.  The  dress  should 
be  all  in  one  piece  and  made  very  simply.  No  wings.  The 
hair  flying. 

Hamadryad.  Brown  as  for  Dryad,  with  green  underslip 
which  faintly  shows  through  as  she  dances.  A  green  cord 
about  the  breast,  and  stitched  to  the  dress  where  this  cord 
crosses  artificial  twigs  and  green  leaves.  Fastened  on  each 
shoulder  artificial  twigs  and  green  leaves.  A  crown  of 
brown  buds  and  green  leaves. 

Spirit  of  Forest,  Meadow,  or  Stream.  A  Forest 
Spirit  would  wear  forest  green  dress,  with  brown  cord  about 
the  breast.  Brown  stockings.  No  wings.  Should  carry  a 
branch  in  her  hand.  A  Meadow  Spirit  should  wear  a  pale 
green  dress  made  over  a  pale  yellow  underslip.  She  should 
be  crowned  with  daisies  and  buttercups,  and  a  band  of 


194  COSTUME  PLATES 

daisies  should  be  worn  about  her  breast.  She  should  cany  a 
staff  twined  with  daisies.  A  Spirit  of  River  or  Stream 
should  wear  river  blue,  and  have  a  silver  cord  crossing  her 
breast.  She  should  carry  a  white  chiffon  scarf  which  waves 
and  flutters  when  she  dances.  No  wings  for  any  of  these 
spirits. 

Greek  Girl.  This  costume  without  the  wings  and  with 
the  hair  bound  about  the  head,  or  gathered  in  a  knot  at  the 
back  would  be  correct  absolutely  for  a  Greek  girl.  It  might 
be  in  white  Unen  or  wool,  or  bright  blue,  pompeian  red,  or 
pale  yellow. 

Roman  Girl.  The  wings  omitted,  the  hair  wound  about 
the  head,  and  a  linen  or  woolen  dress  of  blue,  or  blood  red, 
white  or  yellow.    See  Roman  Costumes,  page  25. 

Saxon  Peasant  Girl.  With  the  hair  flying,  with  no 
wings,  with  the  bands  crossing  the  breast  removed,  the 
costume  is  good  for  a  Saxon  peasant  girl.  It  should  be  of 
white  wool  or  coarse  unbleached  musUn  or  linen.  It  may 
be  brown,  dark  blue,  or  white.  She  should  wear  sandals 
laced  with  white  or  leather  straps.  See  Chapter  on  Cos- 
timies,  under  Costumes  of  Great  Britain. 

For  all  save  the  Greek  or  Roman  girls  this  garment  is 
made  in  one  piece.  For  symbolic  characters  the  hem  should 
never  be  stitched,  nor  turned  up.  It  should  be  cut  not  too 
evenly.  It  hangs  better  unstitched.  Experience  has 
proved  that  this  gives  it  lighter  and  better  Hues  for  dancing. 
The  hem  makes  it  stiff,  whether  for  Fairy  or  Dryad. 

See  Costumes  for  Children's  Plays,  page  55. 


COSTUME  PLATE  41 


FOLLY 

Copyright  by  The  Butterick  Publishing  Co. 

_  Pattern  6403— FoUy  Costume  for  Ladies,  Misses  and  Girls.  At  the  lower  edge  in  the  medium 
sizes  the  foundation  skirt  measures  about  25  yards;  flounce  measures  about  4  yards.  7  Sizes: 
28  to  40  inches  Bust  Measure.  Price,  15  Cents.  As  shown  on  figure,  the  medium  size  requires 
\  yard  27  inches  wide  for  hat,  with  \  yard  of  canvas  25  inches  wide  for  interlining,  J  yard 
of  braid,  1  yard  of  ribbon  for  hat,  6}  yards  of  material  27  inches  wide  for  outside  upper 
tunic,  upper  sleeves  and  full-length  flounce,  1  yard  of  braid,  |  yard  of  banding,  2  yards  of 
material  27  inches  wide  for  middle  tunic,  shorter  shoulder-piece  and  lower  sleeves,  3  yards  of 
material  27  inches  wide  for  lower  tunic,  girdle  and  longer  snoulder-piece  and  3i  yards  of  ma- 
terial 27  inches  wide  for  foundation  skirt.  This  is  an  ezcelient  masquerade  costume  for  a 
young  girl. 


COSTUME  PLATES  197 

COSTUME  PLATE  41 

(For  plays,  and  in  especial  morality  plays,  fairy  plays.   Also 
for  festivals  and  for  symbolic  figures  in  pageants) 

Folly.    With  changes,  Flower  Fairy.    Season  Fairy. 

Spring.   Summer.  Autumn.  Winter. 

Period.    Any  imaginary  period. 

Country.    Any  imaginary  country. 

Color.  The  color  will  depend  absolutely  on  the  kind  of 
costume  desired. 

Materials.  The  materials  will  depend  absolutely  on  the 
kind  of  costume  desired. 

Folly.  For  the  figure  of  Folly  in  a  Morality  Play,  or  for 
symbolic  figures  in  pageants  and  festivals — such  as  Folly 
driving  out  Industry  or  welcoming  Sloth  or  Ignorance, 
the  costume  may  be  in  black  or  scarlet  silk,  which  can  be 
imitated  by  glazed  cambric.  Or  black  and  red  cheesecloth 
can  be  worn.  Or  the  costmne  may  be  all  in  red.  The  bells 
and  trimming  on  the  bodice  are  gold. 

Flower  Fairy.  This  same  dress,  with  no  bells  on  the 
scallops.  If  the  flower  is  to  be  a  Rose  have  the  skirt  pale 
green.  The  dark  scallop  should  be  dark  green,  and  the 
light  scallops  above  it  rose  color.  The  shoes  and  stockings 
should  be  green.  For  a  Poppy  this  same  dress  in  scarlet  and 
green.  For  a  daffodil,  green  and  yellow.  For  Mignonette 
have  the  dress  aU  one  shade  of  green,  and  have  little  stars  of 
red  hung  at  the  end  of  each  petal.  For  a  Lily  the  dress 
should  be  white  and  green,  with  a  gold  girdle.  For  a 
Tulip  the  dress  would  be  entirely  orange.  For  Larkspur, 
bright  blue  petals  over  a  green  skirt.  The  hats  of  the 
costumes  should  be  broad,  and  made  of  the  petals  of  the 
flower — rose  for  roses,  red  for  p>oppies.  In  the  case  of 
Mignonette  and  Larkspur,  have  little  caps  of  green  or  blue. 


198  COSTUME  PLATES 

Spring  Fairy.  Costume  in  two  shades  of  green,  very 
pale  tender  green  for  the  skirt,  dark  green  for  the  first 
scallop,  and  pale  green  for  the  rest  of  the  dress.  At  the 
edge  of  each  scallop  a  white  daisy  might  be  fastened  if 
desired. 

Summer  Fairy  or  Sprite.  This  costume  in  rose-red  and 
green.  The  petticoat  rose-red,  the  first  scallop  green.  The 
rest  of  the  dress  rose-red.  A  hat  made  of  rose  leaves,  or  a 
wreath  of  roses. 

Autumn  Fairy.  Skirt  of  yellow.  Dark  scallop  of  brown, 
or  russet.  The  upper  scallops  of  yellow.  The  belt  of  purple 
and  gold.    May  wear  wreath  of  purple  grapes. 

Winter  Fairy.  This  same  costume  made  entirely  in 
white  canton  flannel.  A  large  crystal  bead  at  the  end  of 
each  scallop,  to  glitter  Hke  frost-work.  White  shoes  and 
stockings,  the  sUppers  edged  with  white  fur.  Silver  cap. 
High  neck  for  bodice. 

Christmas  Fairy.  This  costume  as  described  for  Winter, 
made  of  the  same  materials,  but  with  a  silver  girdle,  and  a 
white  staff  woimd  with  holly  and  tipped  with  a  silver  star. 

COSTUME  PLATE  42 

(Fairy  plays,  historical  plays,  folk  plays,  festivals, 
pageants) 

Children  of  Nobles.    Peasant  Children. 

Period.    1000  to  1490. 

Countries.  England,  Ireland,  France,  Flanders,  Holland, 
Germany,  Italy.  Also  all  Fairy  Tale  countries,  whether 
Andersen's  or  Grimm's  tales.  But  not  the  coimtries  of  any 
Russian  or  Eastern  Fairy  Tale. 

Materials.  Silk  and  satin  for  the  nobility.  Serge  and 
cambric  for  peasants. 


COSTUME  PLATE  42 


MEDLEVAL  OR  FAIRY  TALE  CHILDREN 


COSTUME  PLATES  201 

Children  of  Nobles.  These  costumes,  exactly  as  they 
stand,  can  be  worn  by  children  of  noble  birth  up  to  the 
eighteenth  century,  and  from  the  eleventh.  There  must,  of 
course,  be  sUght  changes.  From  the  eleventh  to  the  end  of 
the  fifteenth  centuries  they  stand  exactly  as  they  are.  In 
the  sixteenth  century  the  hanging  sleeve  is  dropped,  and 
the  bodice  is  longer  and  pointed.  This  is  true  of  the  seven- 
teenth century,  save  that  the  bodice  is  longer  and  not 
ix)inted.  The  boy's  costume  may  be  worn  till  the  end 
of  the  fifteenth  century;  then  doublet  and  hose  came  in. 
(See  Plate  9.)  The  little  girl,  if  a  Princess,  might  wear 
rose-red  velvet  or  satin,  the  sleeves  lined  in  white  satin. 
They,  might  have  a  border  of  gold,  and  a  white  satin  cap 
edged  with  gold  might  be  upon  her  head.  The  boy,  if  he 
were  a  Prince,  would  not  wear  cloth  about  his  shoulders. 
He  would  simply  wear  a  tunic.  This  might  be  purple  cloth 
trimmed  with  bands  of  ermine.  These  will  do  for  both  his- 
torical and  fairy  plays.  If  the  little  girl  needs  something 
simpler  than  a  princess's  dress  she  might  wear  pale  blue 
silkoline,  the  sleeves  lined  in  pale  rose,  and  with  silver 
bobbins  at  the  edge.  A  pale  blue  cap  with  a  little  white 
lace  border.  The  boy's  simpler  costume  might  be  white 
cloth  with  a  gold  belt.  His  cap  would  always  be  a  round 
cap  with  a  peak. 

Children  of  Peasants.  If  the  little  girl  is  a  peasant 
in  an  historical  play  she  may  not  wear  the  hangiag  sleeve. 
If  it  is  only  in  a  fairy  play,  it  will  not  matter  so  much.  But 
the  amateur  producer  must  remember  that  a  hanging 
sleeve  was  in  mediaeval  times  permitted  only  to  the  gentry 
and  nobility.    See  Chapter  on  Costuming. 

A  little  peasant  girl,  whether  in  a  fairy  or  historical 
play,  might  wear  a  blue  serge  dress,  and  a  cap  with  white 
embroidery  edging.    Or  a  brown  dress.    If  she  is  in  a  fairy 


ao2  COSTUME  PLATES 

tale  she  might  wear  dark  crimson.  The  boy  may  wear 
green  or  brown  serge.  If  serge  is  not  to  be  used,  then  use 
cambric.  His  tunic  may  come  to  the  knee  if  desired.  If 
he  was  an  historical  peasant  his  legs  would  be  bare  if  the 
play  was  historically  correct.  His  shoes  are  laced  with 
leather  straps  about  his  ankles.  Oilcloth  may  be  used  for 
this,  and  in  dark  brown  gives  a  passable  imitation  of  leather. 

COSTUME  PLATE  43 

(For  plays,  pageants — in  especial  American  pageants — and 
for  festivals.  For  Mother  Goose  and  Kate  Green- 
away  Festivals) 

Period.    1810-1830. 

Countries.    England,  France,  America. 

Color.  The  softest  colors  should  be  used  for  these  cos- 
timies.  Pale  blue,  pink,  white,  pale  green.  See  Kate 
Greenaway's  Books. 

Materials.  Silk,  silk  muslin,  and  plain  muslin  for  the 
little  girl.    Cloth  or  satin  for  the  Httle  boy. 

These  costumes  are  appropriate  for  Kate  Greenaway 
Festivals,  and  for  Mother  Goose.  Little  Boy  Blue. 
Tom,  Tom  the  Piper's  Son.  Mistress  Mary.  Miss 
Muffet  may  be  costmned  like  this.  For  plays  of  the 
period  of  Miss  Austin's  novels  these  are  correct.  For 
American  Pageants  where  children  welcome  Lafayette 
these  are  correct,  and  appropriate.  Little  girls  dressed 
like  this  used  to  present  Lafayette  with  large  frilled 
bouquets  of  flowers,  as  he  passed  from  one  dty  to  another 
on  his  American  visits. 


CX)STUME  PLATE  43 


KATE  GREENAWAY  CHILDREN 


COSTUME  PLATE  44 


WITCH 

Copyright  by  The  Butterick  Publishing  Co. 
Pattern  6464 — Witch  Costume.  At  the  lower  edge  in  the  medium  sizes  the  skirt  measures 
about  24  yards.  5  Sizes:  32  to  40  inches  Bust  Measure.  Price,  15  Cents.  As  shown  on 
figure,  the  medium  size  requires  2J  yards  of  material  36  inches  wide,  with  2 J  yards  of  edging 
for  blouse,  |  yard  of  material  36  mches  wide,  with  2  yards  of  braid  for  bodice,  2|  yards  of 
material  36  inches  wide  for  skirt;  21  yards  of  material  36  inches  wide  for  pannier;  2J  yards 
of  material  36  inches  wide  for  cape;  and  }  yard  of  material  36  inches  wide,  with  j  yard  of 
buckram  25  inches  wide  for  hat.  This  makes  an  excellent  masquerade  costume  for  Hallowe'en 
parties.  It  may  be  made  of  inexpensive  materials  such  as  lawn  or  sateen,  with  a  girdle  of 
black  sateen  or  velveteen.  The  pointed  hat  and  the  cape  that  go  with  the  costume  are  very 
easily  made.  Colonial  buckles  on  the  shoes  give  a  realistic  touch.  The  besom  is  easily  made 
by  tying  a  bundle  of  twigs  to  the  end  of  a  long  stick. 


COSTUME  PLATES  205 

COSTUME  PLATE  44 

(For  fairy  and  fantastic  plays,  and  for  Mother  Goose 
pageants,  etc.,  etc.) 

Fairy  Godmother.  Witch.  Mother  Goose.  Mother 
Hubbard.  Wicked  Fairy.  Old  Woman  Who  Lived  in 
A  Shoe. 

Period.    Any  Fairy  Period. 

Countries.  For  fairy  tale  character  in  England,  Lreland, 
Sweden,  Norway,  Denmark,  Germany,  France,  America. 

Color.    The  colors  vary  according  to  the  costume  desired. 

Materials.  Cambric  is  a  good  material  for  the  costtmie, 
or  serge,  or  woolen  batiste.  Hat  of  canvas  covered  with 
black  cambric. 

Fairy  Godmother.  Scarlet  petticoat,  and  paimiers. 
Very  dark  green  velvet  bodice  laced  over  a  white  guimpe. 
Very  dark  green  cloak  lined  in  scarlet.  Scarlet  steeple 
hat,  with  a  black  rim.    Carries  a  wand. 

Witch.  Black  skirt  and  panniers.  Black  velvet  bodice. 
White  guimpe.  Black  cloak.  Black  steeple  hat.  Carries 
a  broom. 

Mother  Goose.  Red  quilted  petticoat.  Red  panniers. 
Black  velvet  bodice.  White  guimpe.  Black  cloak  lined  in 
scarlet.  Black  steeple  hat.  Flying  hair  omitted.  Wears  a 
white  wig  made  of  a  white  muslin  skullcap  to  which  white 
cotton  batting  is  stitched  so  that  it  gives  the  effect  of  short 
white  curls.  Wears  large  round  spectacles  with  bone  rims. 
Carries  knitting  in  her  hand,  and  is  attended  by  her  famous 
goose.  This  may  be  a  large  cotton  batting  goose  mounted 
on  a  strip  of  green  board  that  has  small  castors,  like  any 
child's  toy.  To  this  toy  a  string  should  be  fastened,  so  that 
the  goose  will  follow  Mother  Goose  wherever  she  goes. 

Mother  Hubbard.     A  cretonne  petticoat  of  white, 


2o6  COSTUME  PLATES 

flowered  with  large  red  roses.  Panniers  of  plain  red.  A 
black  bodice  and  white  guimpe.  A  forest  green  cloak. 
Her  hair  should  be  tucked  neatly  beneath  a  large  white 
mobcap  with  a  scarlet  bow  at  one  side.  She  would  wear 
long  black  silk  mits,  and  carry  a  basket  on  her  arm. 

Wicked  Fairy.    The  same  costume  as  Witch. 

Old  Woman  Who  Lived  in  a  Shoe.  Dark  green  quilted 
petticoat.  Buff  colored  panniers.  Buff  bodice  and  white 
guimpe.  A  black  cloak,  and  her  hair  tucked  beneath  a  sort 
of  mobcap  tied  under  her  chin. 

This  costume  at  once  suggests  itself  as  appropriate  for 
Cinderella's  Godmother.  The  Wicked  Fairy  in  The 
Sleeping  Beauty.    The  Witch  in  Hansel  and  Gretd,  etc. 

COSTUME  PLATE  45 

(For  use  in  children's  plays,  fantastic  or  fairy,  and  in  fes- 
tivals and  pantomimes) 

Little  Pierrette.    Queen  of  Hearts,  etc.,  etc. 
For  description  of  how  to  adapt  this  to  varying  needs  see 
adult  Pierrette,  Costume  Plate  33. 

COSTUME  PLATE  46 
(For  plays,  festivals,  pantomimes) 

Pierrot.    Clown.    Fanciful  Figure. 

Period.  From  the  Eighteenth  Century  in  England, 
France  and  America.  From  the  sixteenth  in  Italy,  where 
he  has  a  figure  in  the  Commedia  dell'  Arte. 

Colors.    According  to  costume. 

Materials.    Cambric  is  the  best. 

Pierrot.  For  Pierrot  there  should  be  no  patches  on  the 
face,  his  cap  should  be  set  straight,  with  pompons  at  side, 


COSTUME  PLATE  45 


LITTLE  PIERRETTE 

0>pyright  by  The  Butterick  Publishing  Co. 

Pattern  6027 — Pierrette  Costume  for  Girls.  Misses  or  Ladies.  7  Sizes:  26  to  38  inches  Bust 
Measure.  Price,  15  Cents.  As  shown  on  figure,  28  inches  bust  measure  or  10  jrean  requires 
5)  yards  of  material  27  inches  wide,  with  }  yard  of  criooUne  or  CAnvas  25  incbei  wide  and 
I  yard  of  buckram  25  inches  wide  to  line  brim. 


COSTUME  PLATE  46 


CLOWN 

Copyright  by  The  Butterick  Publishing  Co. 

Pattern  5226 — Clown's  Suit  and  Cap.  6  Sizes:  24  to  44  inches  Breast  Measure.  Being  in 
3  Sizes  for  Boys  from  24  to  32  inches  Breast  Measure  (6  to  16  years),  and  in  3  sizes  for  Men 
from  36  to  44  inches  Breast  Measure.  Price,  IS  Cents.  As  shown  on  figure,  36  inches  breast 
requires  12|  yards  of  material  27  inches  wide,  with  |  yard  of  cape-net  or  crinoline  20  or 
more  inches  wide  to  interline  cap. 


COSTUME  PLATES  209 

his  ruff  should  be  white,  not  dotted.  His  dress  should  be 
white  with  black  dots  sewn  to  it.  Never  are  the  dots  any 
other  color  than  black  on  white.  This  is  an  excellent  cos- 
tume for  such  charming  trifles  as  Edmond  Rostand's 
Pierrot  qui  Rit. 

Clown.  The  clown  costume  is  in  every  way  coarser  than 
the  Pierrot  costume.  It  does  not  suggest  such  lightness  and 
grace.  It  should  be  exactly  as  in  the  picture,  white  muslin 
with  red  dots  sewn  on  it.  Black  patches  on  a  whitened  face. 
His  mouth  deep  carmine. 

Fanciful  Figure.  This  may  be  a  fanciful  figure  for 
Seasonal  or  Symbolic  Festivals.  In  bright  green  with 
Hghter  green  dots  he  might  be  Master  Peapod,  or  in  white, 
Master  Milkweed,  and  so  forth. 

COSTUME  PLATE  47 

(For  plays — in  especial  fantastic  plays,  for  pantomimes, 
pageants,  and  festivals) 

Domino.  DisomsE.  Follower  of  Pierrot  and 
Pierrette.  Bud.  Pussy  Willow.  Sugar  in  "The 
Bluebird."  Figure  in  Arabian  Nights  Crowd.  Chrys- 
alis. 

Period.  Any  period  from  mediaeval  days  down  to  the 
present.    Any  fairy  period. 

Countries.    America,  France,  England. 

Color.   According  to  the  needs  of  the  wearer. 

Material.   According  to  what  is  most  appropriate. 

Domino.  For  a  Domino  black  is  the  prevailing  color, 
though  at  fancy  costume  balls  like  the  ball  in  LAiglon, 
or  at  Mardi  Gras,  any  bright  plain  color  or  any  soft  color 
may  be  used,  pink,  blue,  green,  gray.  Silk  or  silkoline  or 
cambric  should  be  the  material. 


2IO  COSTUME  PLATES 

Follower  of  Pierrot  and  Pierrette.  Where  there  is  a 
pantomime  that  needs  a  crowd  of  supers  in  a  Pierrot  pan- 
tomime, the  supers  may  wear  dominos  in  gray,  brown, 
black. 

Bud.  For  a  spring  festival  this  costume  in  brown  may 
symbolize  a  bud.  Under  it  a  leaf  green  costume  may  be 
worn.  At  the  touch  of  Spring's  wand  the  brown  costume 
is  tossed  off,  and  the  green  dress  worn  imderneath  is  seen. 
Cambric  may  be  used  for  this  effect. 

Pussywillow.  This  costume  in  gray  cotton  batting,  or 
any  gray  furry  stuff  will  make  a  pussywillow  costume  for  a 
Spring  festival. 

Sugar.  For  Sugar  in  The  Blue  Bird  and  for  kindred  plays 
this  is  a  useful  costume.  For  Sugar  it  should  be  of  blue- 
white  muslin. 

Figure  in  Arabian  Nights  Crowd.  For  a  pantomime 
of  the  Arabian  Nights  a  number  of  supers  can  quickly  and 
easily  be  costumed  by  having  this  costume  in  unobtrusive 
colors,  and  by  wearing  a  long  beard  with  it.  It  helps  a 
scene  shift,  as  it  can  easily  be  used  to  disguise  principals 
who  can  be  supers  for  a  while,  and  in  an  instant  principals 
again. 

Chrysalis.  This  costume  in  white  cotton  batting  may  be 
used  in  Spring  festivals.  At  the  touch  of  Spring  it  opens  and 
reveals  the  Butterfly  in  gorgeous  yellow,  or  yellow  and 
brown. 


COSTUME  PLATE  47 


DOMINO 

Copyright  by  The  Butterick  Publishing  Co. 

Pattern  5914 — Domino  and  Mask  for  Women,  Men  and  Children.  In  the  medium  sizes  the 
lower  edge  measures  about  2|  yards.  6  Sizes:  28  to  48  inches  Bust  Measure  or  Breast  Meas- 
ure. Price,  15  Cents.  As  shown  on  figure,  the  medium  size  requires  6J  yards  of  material 
36  inches  wide.  Sateen  or  lining  matenab  or  rich  silks  and  velvets  may  be  used  for  this 
costume  u  desired. 


SCENE  PLATES 


< 


U 
CO 


SCENE  PLATES 

SCENE  PLATE  i 

Scene.  A  Greek  or  Roman  or  Fairy  Palace. 

Period.    Ancient  Greek,  Roman,  and  all  Fairy  p>eriods. 

Countries.    Greece,  Rome,  and  Fairy  Tale  countries. 

Colors.  White  piUars.  Back  of  these  are  curtains  of 
whatever  color  best  suits  the  kind  of  play,  its  costumes  and 
period.  The  best  background  would  be  white,  turquoise 
or  deep  blue,  very  dark  rose,  or  dark  purple.  For  a  midnight 
scene  the  curtains  might  be  purpUsh,  and  when  parted  give  a 
glimpse  of  the  midnight  sky  without.  Dark  blue  curtains, 
flecked  with  constellations  of  silver  white  stars  will  give  a 
fantastic  effect  of  a  midnight  sky. 

Materials.  The  pillars  may  be  made  of  wood  and  canvas, 
or  of  compo  board  painted  white.  The  curtains  may  be  silk 
or  velvet,  or  in  imitation  of  these  crepe,  or  canton  flannel. 
The  material  backing  the  pillars  must  not  be  transparent. 

Construction.  The  pillars  may  be  a  back  drop  for  a  very 
sliallow  stage,  and  then  the  sides  may  be  masked  with 
scant  curtains,  or  if  a  deep  square  stage  is  wished,  then 
duplicate  these  pillars  and  curtains  for  the  sides  of  the  stage, 
a  thing  very  easy  to  do.    See  Scenery,  page  6i. 

Lighting.  Can  be  used  with  footUghts  for  a  dayhght 
scene.  With  stage  moonlight  and  blue  footlights  can  be  a 
night  scene.  It  can  even  give  the  effect  of  a  tent  in  a  Greek 
or  Roman  camp  at  night,  if  a  shield  is  hung  where  the  cur- 
tains part  at  the  top.  In  this  case  have  white  curtains,  and 
let  the  lights  of  moving  torches,  and  campfires  appear  from 
the  back,  glowing  through  the  curtains. 

217 


2i8  SCENE  PLATES 

Plays.  Can  be  used  for  a  Fairy  Palace,  for  the  Palace  in 
Snow  White,  for  the  setting  of  a  Morahty  Play,  or  Midsum- 
mer^ s  Night's  Dream.  For  Orsino's  Palace  in  Twelfth  Night 
with  purple  curtains,  for  Olivia's  house  in  the  same  play 
with  deep  rose  curtains.  Can  be  used  for  the  Masque  of 
Pandora,  for  Julius  Ccesar,  and  for  amateur  presentations 
of  The  Trojan  Women.  Can  be  used  for  the  palace  in  The 
Sleeping  Beauty,  and  in  Cinderella.  Can  be  used  as  setting 
for  The  House  of  the  Heart. 

SCENE  PLATE  2 

Scene.   Early  Saxon  Interior. 

Period.  The  Saxon  period,  and  the  centuries  just  follow- 
ing. 

Countries.    France,  England,  Ireland. 

Colors.  The  walls  should  be  cement  gray — that  is,  stone 
gray,  or  cream  color.  But  preferably  stone  gray.  The  doors 
are  oak  brown,  with  wrought  iron  latches,  and  hinges.  The 
bench  is  of  oak.  The  window  has  iron  bars,  and  the  glass  is 
made  of  paraffin  paper,  light  enough  in  quaUty  for  light  to 
stream  through  from  behind  the  scene.  The  brazier  is  sup- 
posed to  be  of  iron.  In  reality  it  is  made  of  a  camp  wash- 
stand  painted  black. 

Materials.  Painted  canvas  or  unbleached  cotton.  Or  the 
whole  scene  can  be  composed  of  cartridge  wallpaper  in 
stone  gray,  if  the  painted  scenery  cannot  be  had.  See  Chap- 
ter on  Scenery. 

Construction.   See  Scenery,  page  61. 

Lighting.  This  scene  can  be  Ut  from  the  back.  Quench 
the  footlights,  and  for  a  daylight  scene  have  golden  sunlight 
streaming  through  the  window.  For  a  mysterious  night 
scene  it  can  be  lit  by  moonlight  streaming  through  the 


g 


O 
CO 


'^ri  L     ... 


SCENE  PLATES  221 

window.  The  brazier  may  be  lit  by  keeping  a  red  spotlight 
on  it,  or  by  having  a  quantity  of  red  fire  powder  sunk  in  a 
saucer  in  the  middle  of  the  basin.  The  room,  being  gray, 
needs  this  spark  of  color.  Unless  it  is  summer,  do  not  omit 
it.  A  stone  hearth  may  he  used  if  desired,  such  as  is  given  in 
Scene  Plate  5. 

Plays.  MalvoUo's  prison  in  Twelfth  Night.  The  Friar's 
cell  in  Romeo  and  Juliet.  Joan  of  Arc's  prison.  A  room 
in  the  time  of  Robin  Hood.  A  room  in  Fairy  Tale  plays 
or  Folk  plays.  Could  be  used  for  the  room  where  the 
Sleeping  Beauty  pricked  her  finger  and  fell  asleep.  Is  good 
for  plays  of  very  early  Celtic  History,  such  as  the  plays  of 
William  Butler  Yeats,  that  deal  with  Celtic  history,  and 
Lady  Gregory's  Celtic  History  Plays. 

SCENE  PLATE  3 

A  Heath  or  Open  Space. 

Materials.    Canvas  or  unbleached  muslin. 

Colors.  The  sky,  blue  (light).  The  grass,  dim  misty 
green.    The  trees,  dim  brown  and  green. 

This  may  be  used  as  a  backdrop  with  a  shallow  stage,  or 
with  the  trees  on  page  173  cut  as  wings  it  may  be  used  as  a 
backdrop  with  a  deep  stage.  If  a  wider  scene  is  wished  than 
these  Forest  of  Arden  trees  portray  as  side  pieces,  then  have 
stark,  leafless  or  nearly  leafless  trees  as  wings,  with  dark, 
twisted  sinister  branches.  This  scene  may  also  be  used  as 
a  Cyclorama.    See  page  64. 

SCENE  PLATE  4 

A  Dense  Wood  or  Forest.   A  More  Open  Wood. 
Period.   Any  period  from  the  earliest  times  to  the  present. 
Countries.     America,  England,  France,  Germany,  car- 


233  SCENE  PLATES 

tain  parts  of  Italy,  fantastic  mythologic  countries,  and 
fairyland. 

Colors.  For  a  dense  wood  or  forest  the  scene  is  in  three 
colors.  Dark  green  foliage,  dark  brown  tree  trunks,  and  a 
background  of  paler  green  to  suggest  the  depths  of  the 
forest.  The  trees  are  made  alike  so  that  amateurs  can 
stencil  them.  It  suggests  a  wood,  rather  than  gives  a  wood 
in  actuality.  For  a  more  open  wood,  giving  a  glimpse  of 
sky,  use  the  trees,  cut  out,  and  silhouetted  against  Plate  3, 
which  can  be  used  as  a  backgroimd.  For  Fairyland  use 
the  dense  wood.  The  scene  may  be  used  as  a  backdrop 
for  a  shallow  stage,  or  if  a  deep  stage  is  used,  this  can  be  the 
backdrop.  Wings  cut  exactly  like  the  trees  can  be  set  up, 
at  right  and  left,  the  edges  scalloped  a  little  to  give  the 
effect  of  foliage,  and  a  few  holes  cut  as  in  the  picture.  This 
is  called  a  cut  scene. 

Materials.  Canvas,  or  unbleached  muslin.  Or  it  may 
be  made  of  compo  board.  See  Chapter  on  Scenery.  Can 
also  be  used  as  a  Cyclorama.    See  page  64. 

Constrtiction.    See  page  61. 

Lighting.  Can  be  used  as  a  daylight  scene,  or  flooded 
with  moonlight  can  be  a  moonlit  scene,  or  can  be  dark  and 
mysterious. 

Plays.  Can  be  used  for  any  fair  play,  for  any  folk  play 
requiring  a  wood.  For  Midsummer's  Night's  Dream,  for 
As  You  Like  It,  for  A  Rose  of  Plymouth  Town.  For  the 
last  scene  of  Nathan  Hale.  For  Jeanne  D 'Arc's  wood  of 
Domremy.  For  the  Forest  of  Sherwood.  For  the  scene  of 
The  Dream  Lady. 

For  Curtain  Scenery.  Make  the  backdrop  of  green 
denim.  Cut  out  the  trees  from  darker  green  (unglazed) 
cambric,  and  have  brown  cambric  tree  trunks.  Stitch  to 
denim,  and  hang  round  the  sides  of  stage;  leaving  openings 


a> 


SCENE  PLATES  225 

between  the  trees  for  entrances.    It  will  look  like  a  tapestry 
forest. 

SCENE  PLATE  5 

Kitchen  Scene. 

Period.    Anglo-Saxon  period  to  the  present. 

Countries.  American,  English,  French,  Flemish,  Danish, 
Swedish,  Norwegian.  The  Germans  and  Dutch  used 
stoves,  but  it  could  be  used  for  a  Dutch  or  German  peasant 
scene  in  a  poor  hut  where  they  could  not  afford  stoves.  It 
may  be  used  for  Hans  Andersen's  and  Grimm's  Fairy 
Tales. 

Colors.  The  walls  are  brown,  as  if  stained  with  smoke. 
The  door  and  windows  are  a  richer  brown,  that  is,  a  darker 
brown.  The  stone  of  the  hearth  shelf  is  grayish  brown,  or 
entirely  gray.    The  stool  is  made  of  pine,  and  is  unpainted. 

Materials.  Scene  painted  on  canvas  or  imbleached 
cotton.  Door  may  be  of  compo  board  tacked  to  wood,  and 
painted.  Wallpaper  in  dark  brown,  absolutely  plain,  or 
wallpaper  made  like  wood,  can  be  used  for  both  walls  and 
door  at  a  pinch.     But  paint  is  best.    See  page  61. 

Construction.  See  page  61.  Plain  brown  walls  will  do 
for  the  side  of  the  stage.  There  may  be  a  door  like  the 
outer  door  leading  into  another  room  of  the  house.  It 
should  be  constructed  of  the  same  material.  Window  may 
be  made  of  paper,  or  paraflSn  paper.  It  should  be  on  a 
hinge  so  it  can  open.  If  it  is  a  Saxon  window,  it  should 
be  made  like  window  in  Scene  Plate  2. 

Plays.  This  is  a  most  useful  scene.  It  can  be  used  for 
all  Fairy  plays  and  almost  all  Folk  plays.  It  may  be 
Cinderella's  Kitchen,  or  the  Kitchen  in  the  Silver  Thread. 
At  this  hearth  King  Alfred  may  bum  the  cakes,  or  Jeanne 
D'Arc  see  her  visions.    It  may  be  a  Puritan  or  Pilgrim 


226  SCENE  PLATES 

interior.  Priscilla  Mullins  may  sit  here  spinning.  It  may 
be  the  kitchen  in  Olivia's  house  in  Twelfth  Night.  It 
may  be  used  for  an  amateur  production  of  The  Blue  Bird 
by  Maeterlinck,  and  be  the  first  scene.  It  may  be  an 
Eh'zabethan  ion.  With  the  window  on  page  247  it  may  be 
a  Colonial  room  for  American  history  plays,  or  the  school 
house  for  Nathan  Hale.  The  number  of  ways  it  can  be 
used  is  simply  endless.  It  may  be  Snow  White's  Home  with 
the  Little  Men.  With  a  stove  it  may  be  the  kitchen  of  the 
Ruggles  family  in  The  Bird's  Christmas  Carol. 

SCENE  PLATE  6 

Scene.   The  Seashore. 

Countries.   Any  coimtry  that  has  a  rocky  sea  coast. 

Period.    Any  period. 

Colors.  Sky,  light  blue.  Sea  strip,  darker  blue.  Rocks 
in  two  shades  of  brown,  with  dark  purplish  shadows. 

Materials.  Flax  canvas  or  unbleached  cotton,  painted. 
Silk  for  the  sea  if  possible.    See  page  66. 

Construction.  The  sea  and  sky  painted  on  the  backdrop, 
if  the  separate  sea  strip  is  not  used.  The  rocks  of  canvas, 
painted.  Underneath  this  canvas,  which  is  bulked  to  look 
like  rock,  there  should  be  a  firm  wooden  frame.  A  lot  of 
dry  goods  boxes  nailed' together  will  not  be  a  bad  scheme. 
The  rock  in  left  foreground  is  made  to  come  down  in  a 
point,  and  leaves  a  place  for  amateurs  to  enter.  This 
scene  can  be  used  for  a  shallow  backdrop.  The  sides  can 
be  masked  with  rock  brown  curtains.  If  one  wishes  to 
have  a  deeper  stage,  then  run  canvas  rocks  up  the  right 
and  left  sides,  as  far  as  the  eye  can  reach,  as  if  this  were  a 
cove.  These  rock  wings  will  jut  out,  and  give  two  more 
entrances. 


SCENE  PLATE  6 


SEA  COAST 


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w 
iz; 

w 


a> 


SCENE  PLATES  •    237 

Color.  Brown  oak  panelled  walls.  Windows  plain,  or 
with  rich  annorial  bearings  on  them.  Over  the  hearth  there 
should  be  either  a  portrait  of  someone  in  rich  brocades  and  a 
ruff,  or  a  bit  of  handsome  tapestry.  The  latter  is  easiest  to 
procure  for  amateurs.  It  should  have  a  hint  of  gold  and 
vivid  blue  or  scarlet  in  it.   The  floor  brown. 

Materials.  The  scene  may  be  painted  on  canvas,  or,  much 
easier,  panelled  wallpaper  may  be  bought  by  the  roll,  and 
tacked  to  the  wooden  scene  frame.  It  would  be  best  to 
cover  the  frame  with  compo  board  first,  as  the  wallpaper  is 
perishable.  The  windows,  which  should  swing  inward, 
should  be  made  of  black  paper  for  lead  and  paraffin  paper 
for  glass.  Or  paraffin  paper  with  the  leaded  panes  indi- 
cated with  crayon  or  strips  of  black  tissue  paper  will  do. 
There  should  be  logs  and  a  ruddy  fixe. 

Construction.  See  page  61.  If  this  is  to  be  a  shallow 
backdrop  it  is  all  right  as  it  stands.  But  most  likely  it 
will  need  sides,  right  and  left.  These  should  have  panelled 
doors,  and  should  be  made  of  the  same  material  as  is  shown 
in  the  picture  and  described  above. 

Use  upright  mission  furniture  with  this  scene.  It  is  the 
nearest  thing  to  the  correct  heavy  carved  furniture  that 
amateurs  will  be  likely  to  get.  If  the  windows  are  to 
be  open  see  that  there  is  a  good  backdrop  behind 
them. 

This  room,  with  hearth  and  windows  exactly  where  they 
are,  can  be  changed  to  a  Colonial  room  very  easily.  Have 
no  panels,  but  a  cream-colored  wall  with  a  white  baseboard. 
Take  out  the  inner  frame  of  the  hearth,  leaving  it  absolutely 
square.  Put  in  the  Colonial  window  on  page  247.  Have  the 
doors  plain,  if  side  walls  are  used.  For  decorations  have 
candles  on  the  shelf,  and  some  silhouettes  in  black  frames. 
The  bit  of  tapestry  can  still  be  used. 


238  SCENE  PLATES 

SCENE  PLATE  12 

Scene.  Woodcutter's,  Peasant's,  or  Witch's  House 
IN  THE  Wood. 

Period.  From  Elizabethan  times  to  the  present.  For  all 
fairy  tales. 

Colors.  There  are  two  ways  of  doing  the  backdrop.  An 
effect  of  a  cheerful  wood,  or  a  more  or  less  cheerful  wood, 
may  be  given  by  having  a  pale  blue  sky,  dark  brown  tree 
trunks,  and  very  dark — almost  black — ^pine  green  boughs. 
But  the  effect  of  the  wood  is  meant  to  be  more  or  less  sinister. 
For  a  truly  sinister  effect  have  sunset  light  deepening  from 
rose  to  crimson,  and  against  this  have  the  trees  stand  in 
black  silhouette.    The  floor  cloth  should  be  dark  brown. 

The  little  house  should  be  gray,  with  a  red  roof,  and  a  red 
or  a  brown  door. 

Construction.  The  backdrop  of  trees  and  sky  should  be 
painted  on  flax  canvas,  or  unbleached  muslin.  See  page  61. 
The  little  house  should  be  large  enough  for  children  and 
small  adults  to  enter,  and  should  be  separate,  not 
painted  on  the  backdrop,  unless  this  is  specially  desired. 
It  can  be  made  constructed  on  a  wooden  frame,  and  then 
covered  with  compo  board,  and  painted.  See  Chapter 
on  Scenery.  The  window  may  be  made  of  paraflSn 
paper. 

Lighting.  For  the  sunset  scene,  no  footlights,  or  only  a 
very  few  footlights,  white  and  red,  should  be  used.  But  if 
possible  it  is  better  to  quench  the  footlights,  and  have  a  few 
red  and  white  lights  along  the  proscenium  border.  The 
sunset  effect  can  be  managed  from  the  back,  if  one  is  very 
skillful.  Less  skilled  amateurs  had  better  have  the  rosy 
light  thrown  from  the  spot  light  box.  It  should  fade  to 
the  violet  of  dusk  very  gradually.    The  blue  sky  scene  can 


SCENE  PLATES  241 

be  lit  in  the  usual  way.     There  are  no  difficulties  about 
that. 

Plays.  For  Hansel  and  Gretel,  for  Snow  White.  For 
Golden  Hair  and  the  Three  Bears.  For  The  Land  of  Memory 
in  an  amateur  production  of  The  Bltie  Bird. 


SCENE  PLATE  13 

A  PniATE  Ship,  or  an  Old-Fashioned  or  Medlevax 
Ship. 

Period.   From  the  time  of  Queen  Elizabeth  down. 

Countries.  American,  EngUsh,  French,  Grerman,  Flemish, 
Spanish. 

Colors.  The  sky  light  blue,  the  sea  darker  blue.  The 
ship  brown  oak. 

Materials.  The  scene  is  painted  on  canvas  or  imbleached 
cotton.  The  rails  and  cabin  may  be  made  of  the  same 
material.    The  ropes  are  real. 

Constrtiction.  The  sky  and  water  are  on  the  backdrop. 
The  cabin  and  railing  are  of  painted  canvas,  made  on 
wooden  frames,  or  of  compo  board  painted  brown  and 
tacked  to  wooden  frames.  The  cabin  should  be  built 
separately,  like  a  small  house,  and  made  very  firmly,  as 
exits  can  be  made  up  and  down  the  ladder  and  through  the 
doors.  The  cabin  may  be  twelve  or  fourteen  feet  wide,  the 
sides  of  the  boat  according  to  the  stage — they  end  at  the 
side  footlights.  The  bare  floor  of  the  stage  may  be  used  for 
the  deck  of  the  ship.  For  mixing  paints,  etc.,  see  chapter 
on  Scenery. 

Lighting.  Can  be  a  daylight  scene,  or  with  the  stage 
darkened,  and  lights  coming  from  the  doors,  and  lanterns 
hung  in  the  rigging,  can  be  a  night  scene.  Li  this  case  a  spot 
light  will  have  to  be  used  with  old-fashioned  stages. 


242  SCENE  PLATES 

Plays.  For  Pinafore,  without  the  pirate  trappings.  With 
the  pirate  trappings,  the  Pirates  oj  Penzance.  For  Drake, 
by  Louis  N.  Parker. 

SCENE  PLATE  14 

Modern  Yacht,  or  Ship,  according  to  play. 

Period.   From  1850  to  the  present. 

Countries.   America,  England,  and  the  Continent. 

Colors.  The  sky  pale  blue,  the  water  deep  blue,  the  boat 
white. 

Materials.  Painted  canvas.  The  railing  may  be  made  of 
actual  wire,  with  wooden  posts,  or  a  tennis  net  could  be 
used. 

Construction.  Sky  and  water  are  on  backdrop.  The 
ventilator  and  hatchway  are  wings. 


o 


FURNITURE  PLATES 

1.  Roman  Chair.  A  chair  of  state  for  a  Roman  em- 
peror or  general.  It  was  used  in  Rome,  and  from  the  ninth 
to  the  thirteenth  century  in  England,  Denmark,  France, 
Scotland,  Ireland,  where  it  was  a  chair  of  state,  seen  in  the 
houses  of  Kings  and  nobles,  but  never  in  the  houses  of 
peasants.  It  is  the  type  of  chair  always  used  in  productions 
of  Hamlet.  It  was  extensively  used  in  the  Napoleonic  Era, 
and  then,  as  in  Rome,  it  was  a  chair  of  state.  It  should  be 
made  of  dark  wood. 

2.  Saxon  Seat.  Used  from  the  first  to  the  twelfth  cen- 
turies in  the  houses  of  nobles  and  peasants  alike,  and  after 
that  used  in  monasteries,  inns,  and  peasant's  houses  up  to 
the  eighteenth  century.  It  was  used  in  England,  Ireland, 
Scotland,  Holland  and  France.  Is  made  of  dark  wood,  or 
plain  pine.  Plain  pine  for  peasants,  and  dark  wood  for  the 
houses  of  nobles  and  for  monasteries.  It  is  a  most  useful 
piece  of  furniture  for  Miracle  and  Morality  plays,  and  for 
folk  and  fairy  as  well  as  historical  plays. 

3.  Medleval  Throne  Chair  or  Chair  of  State.  Used 
from  the  tenth  to  the  seventeenth  century  in  England, 
Scotland,  Ireland,  France  and  Flanders.  Is  useful  as  an 
ecclesiastic  chair  for  dignitaries  in  cathedrals  and  Bishop's 
palaces — for  such  dramas  as  Becket  and  for  such  plays  as 
Henry  V.  In  the  latter  it  is  used  as  a  throne  chair.  It  is 
made  of  solid  wood,  with  a  wooden  seat.  For  highly  decora- 
tive purposes  the  two  ovals  of  the  back  may  be  covered  with 
purple  or  scarlet  leather  (leatherette),  and  the  strip  up  the 
back  gilded.  A  cushion  of  the  same  color  as  the  ovals  should 
be  put  into  the  seat  of  the  chair. 

245 


246  FURNITURE  PLATES 

4.  Simple  Chair  which  can  be  used  from  1650  to  the 
PRESENT.  Is  made  of  wood  with  a  rush  seat.  Is  excellent 
for  Colonial  scenes.  For  scenes  earlier  than  Colonial  it 
should  be  dark;  for  Colonial  scenes  it  should  be  painted 
white. 

5.  Colonial  Window,  which  will  change  the  room  in 
Scene  Plate  11  into  a  Colonial  room  if  the  walls  of  the  room 
are  painted  a  light  color. 


OPEN  AIR  GREEK  THEATER 

The  words  open  air  Greek  Theater  have  an  ornate — and 
for  some  ears — an  expensive  sound.  But  if  people  only 
realized  how  little  ingenuity  and  money  it  takes  to  have  a 
really  servicable  Greek  Theater,  there  would  be  hundreds  of 
them  springing  up  throughout  the  country  as  a  means  of 
permanent  delight.  Many  people  associate  the  word  Greek 
Theater  with  the  idea  of  a  huge  Stadium  such  as  the  one  in 
California,  or  the  Adolph  Lewisohn  Stadium  in  New  York 
City,  but  as  a  matter  of  fact  a  small  stadium  is  not  only 
perfectly  feasible  but  well  adapted  to  small  communities  or 
even  to  the  school  yard.  The  ideal  small  Greek  Theater 
might  be  copied  after  the  Brookside  Theater  at  Mount 
Kisko,  New  York. 

Select  a  stage  that  will  be,  if  possible,  one  himdred  feet 
long  and  fifty  feet  deep.  Have  it  as  level  as  possible,  and 
have  it  of  turf  that  will  have  springiness  and  give  beneath 
the  feet  for  dancing.  This  stage  should  have  as  a  back- 
ground or  permanent  backdrop  either  a  lovely  vista — as  in 
Mount  Kisko,  where  rolling  hills  and  placid  intervales  melt 
into  blue  distance,  or  there  should  be  trees  and  shrubbery  so 
cunningly  placed  all  across  the  back  that  they  give  the 
effect  of  solid  green,  and  yet  allow  the  characters  to  enter 
and  exit.  In  a  place  where  the  background  is  lovely,  yet 
where  there  are  no  trees,  a  wire  lattice  overrun  with  vines 
can  be  used  as  a  background  for  the  pillars,  and  it  will 
give  a  glimpse  of  the  vista  at  each  side.  The  posts  support- 
ing this  wire  lattice  should  be  painted  a  very  dark  green  so 
that  they  will  not  intrude  upon  the  eye. 

249 


2SO  OPEN  AIR  GREEK  THEATER 

Across  the  back  of  this  greensward  stage  the  white  pillars 
are  placed  in  a  semicircle.  There  is  space  enough  between 
each  pillar  for  a  character  or  group  of  characters  to  enter 
upon  the  scene. 

Across  from  the  stage  is  the  place  for  the  audience.  It 
should  seat  from  one  hundred  to  three  hundred.  A  sloping 
hUlside  is  ideal,  for  people  can  bring  rugs  and  cushions  and 
have  a  fine  view.  Or  a  permanent  grandstand  may  be  con- 
structed. This  may  be  of  wood,  left  to  weather  until  it  is 
lichen  gray.  Or  if  the  hillside  is  of  shale,  it  may  be  cut  into 
the  rock.  Or  a  ridge  of  stone  seats  may  be  erected.  These, 
like  the  seats  at  the  theater  of  the  Outdoor  Players  at 
Peterborough,  New  Hampshire,  may  be  built  of  field  stones, 
as  a  stone  wall  is  built,  and  than  overlaid  with  four  inches  of 
cement  on  top,  which  gives  a  smooth,  bench-like  effect.  This 
is  a  very  pretty  way  to  arrange  seats  for  an  outdoor  theater. 

For  the  theater  itself,  all  that  is  needed  are  six  pillars, 
placed  in  a  semicircle.  It  does  not  matter  whether  they  are 
Grecian  or  Roman,  fluted  or  plain.  They  should  have  a 
coping  along  the  top,  to  connect  them.  As  a  background, 
they  can  be  varied  by  draperies  and  accessories.  Great 
earthen  or  copper  jars  such  as  are  seen  in  Maxfield  Parrish's 
pictures  may  be  placed  against  the  pUlars  in  the  foreground. 
These  jars  may  be  jade  green,  copper  colored,  Pompeiian 
red,  or  duU  blue.  The  veriest  tyro  can  fashion  them  out  of 
sculptor's  clay  and  color  them  with  pigments.  The  pillars 
can  also  be  backed  on  occasion  by  colored  curtains,  looped 
in  the  center.  These  may  be  turquoise  blue,  pale  yellow, 
Tyrian  purple,  or  for  a  color  scheme  of  very  dark  costumes, 
Pompeiian  red. 

For  a  temple  of  Flora  in  which  a  masque  of  Spring  is  to  be 
given  these  pillars  may  be  wound  with  great  garlands  of 
roses — real  roses,  or  artificial  ones. 


s 


OPEN  AIR  GREEK  THEATER  253 

A  Greek  table  and  bench  made  of  wood  rather  than  of 
stone  so  that  they  can  be  moved,  are  essential  properties. 

There  may  be  a  shrine  placed  at  the  back  of,  or  between 
the  two  center  pillars.  In  this  shrine,  which  can  be  made  of 
plaster  of  pans,  is  a  sunken  bowl  in  which  incense  may  be 
burned,  and  here  offerings  may  be  made,  as  vestal  dances 
are  given. 

The  plays  given  in  this  theater  must  of  necessity  be  either 
Greek,  Roman,  or  plays  of  fantasy.  It  may  be  used  for 
Midsummer^s  Night's  Dream — the  foreground  for  a  wood 
near  Athens,  the  pillars  for  the  court  scenes.  For  Pandora  or 
Persephone  or  for  a  masque  of  Pomona  this  theater  may  also 
be  used.  Julius  Ccesar  may  be  also  given  in  it.  The 
mythical  plays  by  Lord  Dimsany  are  also  possible,  and  with 
this  background  The  Sleeping  Beauty  and  King  Rene's 
Daughter. 

All  these  plays  may  be  given  in  the  daytime.  The  same 
plays  may  be  given  at  night  with  footlights  carefully 
screened  by  very  low  plants.  Electric  lights  may  also  be 
inverted  in  the  coping  of  the  pillars. 

The  pillars  may  always  be  bought  or  ordered  from  a  firm 
of  contractors,  or  they  may  be  obtained  from  the  Hartwell 
Sanders  Co.,  2155  Elston  Avenue,  Chicago,  111.,  for  $2.75 
a  piece,  making  the  whole  theater  total,  with  its  coping 
included,  $20.00,  if  a  hillside  is  used  for  a  grandstand. 
These  pillars  are  eight  feet  high,  made  of  white  pine  or 
cypress.  The  Hartman-Sanders  catalogue  gives  excellent 
ideas  along  these  lines.  Greek  furniture  for  the  outdoor 
theater  may  be  obtained  from  the  North  Shore  Ferneries 
Co.,  Beverly,  Mass.  Their  catalogue  will  prove  invaluable 
to  anyone  contemplating  such  a  theater. 


INDEX 


Admiral,  174, 176. 

Aladdin,  74,  78. 

America,  9,  40,  69. 

American  scenes,  81. 

Appia,  Adolph,  7. 

Armor,  20,  34;  Greek,  24;  man  in, 
no,  in;  mediaeval,  32,  33;  pre- 
mediseval,  29;  Roman,  26. 

Barker,  Granville,  4,  9. 
Baskt,  Leon,  8,  9. 
Brazier,  94,  218,  219. 
Brieux,  Eugene,  9. 

Carnegie  Institute,  10. 

Castle,  228,  229,  230,  231. 

Chaney,  Sheldon,  9. 

Cherry  Garden,  80. 

Chesterton,  Gilbert,  14. 

Coat  of  mail,  20,  in. 

Coif,  58. 

Colonial  room,  84,  237. 

Columbia,  costume  for,  io6. 

Compo  board,  uses  of,  65,  67,  83. 

Costumes,  19-60, 97-213;  American, 
41,  129-176;  Arabian,  183;  bib- 
lical, 102-105;  British,  ancient,  27, 
28;  Cavalier,  43,  44,  134, 135,  137; 
children's,  15,  55-60;  Chinese,  22; 
Civil  War,  89,  70-73;  Colonial, 
150-165;  Dutch,  43,  134,  13s, 
144,  145;  Egyptian,  22;  Eliza- 
bethan, 122-127;  fairy,  26,  56,  57, 
58,  190-194;  fanciful,  186-189;  of 
ancient  Gaul,  27;  of  Great  Britain, 
27-41;  Greek,   23,   24,   199-203; 


Huguenot,  44;  of  India,  23;  of 
Indians  (American),  41,  42,  128- 
133;  Japanese,  23,  180-183;  me- 
diaeval, 112-122;  Mother  Goose, 
178,  179,  204-206;  mythologic, 
24>  SSSSt  106;  oriental,  20;  Per- 
sian, 183;  Pilgrim,  44,  47,  134- 
139;  Puritan,  43,  44,  47, 134-137; 
Quaker,  44;  Roman,  25,  26,  51, 
100-105;  Royalist,  141,  143; 
Saxon,  31,  102-105;  Spanish,  184, 
186;  symbolic,  53-55,  106;  Turk- 
ish, 183,  185;  military,  American 
Revolution,  150-159;  Civil  War, 
S3,  170,  171;  eighteenth  century, 
150-159;  English,  41;  Greek,  loi- 
192;  Roman,  101-102. 

Craig,  Gordon,  7,  9,  12,  83. 

Crusader,  no,  in. 

Cyclorama,  8,  64,  65,  66,  75. 

Dartmouth,  10. 

Dennison  Tissue  Paper  Co.,  80,  86. 

Desert,  77. 

Domino,  209,  210,  211. 

Drama,  decorative,  9,  10;  Greek,  5; 

of  ideas,  9;  non-commercial,  13; 

pre-Elizabethan,  6. 

Eastern  Pantomime,  75. 

Elf,  188-189. 

Elga,  Hauptman,  8,  n. 

Elizabeth,  Queen,  costume  for,  127. 

Elves,  57. 

Entrances,  how  to  mask,  83-84. 

Envy,  costume  for,  58. 


255 


2s6 


INDEX 


Fabrikona,  67,  77. 

Fairy,  190-194;  adapted,  24;  flower, 

197;   palace,    64,    91,    216,    217; 

season,  197-198. 
Folly,  costume  for,  196-197. 
Forest,  76,  221,  223. 
Fortuny  Lighting  System,  The,  8,  9. 
France,  Anatole,  4. 
Fuchs,  George,  7. 
Fujiyama,  79,  80. 
Furniture,  box,  96;  Colonial,  246- 

247;  mediaeval,  245-247;  Roman, 

24s,  247;  Saxon,  245,  247. 

Galsworthy,  John,  9. 
Garden,  86,  233-235. 
Germany,  work  of,  8;  contribution 

to  modem  stage,   9;   Christmas 

play  in  theater  of,  11. 
Goose,  Mother,  202,  203,  205. 
Greek  Palace,  216,  217. 
Greek  Theater,  249,  251 . 
Greenaway,  Kate,  166, 169,  202. 

Hamlet,  83. 

Hansel  and  Gretel,  67. 

Harvard,  10. 

Hauptmann,  11. 

Head-dress,  Egyptian,  22;  steeple, 
36. 

Heath,  220-221. 

Helmet,  of  ancient  Gaul,  27;  Gre- 
cian, 24;  Roman,  26;  Viking,  27, 
54- 

Hennin,  36, 120,  121. 

Hevesi,  Alexander,  7. 

Hood,  Robin,  ^3,  88,  94,  112,  113. 

Horizont,  8,  9,  10. 

Housman,  Lawrence,  78. 

Hull  House  Theater,  10. 

Ibsen,  Hendrick,  9. 
Indians,  58. 
Irish  Players,  6. 


Jones,  Inigo,  6. 
Jones,  Robert,  7. 
Judea,  hills  of,  76. 
Judith,  play  of,  74. 
Jimgle,  how  to  paint  a,  76. 

Kitchen  Scene,  224,  225. 
Knight,  Arthurian,  iii. 

Lighting,  65,  70,  94;  indirect,  70; 

scheme  of,  70. 
Linneback,  Adolph,  7. 

Macbeth,  13. 

Maeterlinck,  14. 

Mantle,  20,  21;  of  Saxons,  31. 

Masques,  6,  14. 

Mikado,  The,  79. 

Minute-men,   American,    49,    150- 

154- 
Monvel,  Boutet  de,  15, 121. 
Morality  play,  57. 
Moscow  Art  Theater,  83. 
Mother  Goose,  202,  203,  205. 

Napoleon,  52. 
Neighborhood  Playhouse,  10. 

Oasis,  75. 

Offertory  table,  88. 
Operettas,  Japanese,  23. 
Outdoor  Theater,  249,  251. 

Pageants,  53,  54. 

Palace,  Eastern,  87;  fairy,  91;  hang- 
ings for  a,  85;  how  to  make  a,  216, 
217. 

Pannier,  49,  51,  158-165. 

Peasant  home,  224. 

Peasant  woman,  115. 

Perspective,  of  scenery,  4,  64. 

Pierrette,  178-180. 

Pierrette,  little,  206-207. 


INDEX 


257 


Pierrot,  206,  208. 

Pilgrim  Fathers,  88. 

Pirate,  145,  150. 

Pirate  ship,  240,  241. 

Piatt,  Livingston,  7. 

Plays,  children's,  15;  Christmas,  77; 

bible,   20,   74;  fantastic,  87;  of 

India,  23;  one  act,  14,  15. 
Players,     Irish,     13;     Washington 

Square,  10,  11. 
Priming,  process  of,  68. 
Properties,  how  to  make,  91. 
Puritan  interior,  84;   Uving  room, 

90. 
Puritans,  58. 

Quakers,  49. 

Rahab,  74. 

Regisseurs,  European,  7. 
Reicher,  Emanuel,  12. 
Reinhardt,  Dr.  Max,  7,  9,  71. 
ReUef  Theater,  71. 
Romans,  in  England,  28. 
Rouche,  Jacques,  7. 
Royalists,  141-145. 

Sandals,  20,  52,  56;  Greek,  24. 

Santa  Claus,  187,  189. 

Sari,  23. 

Scale,  drawing  to,  69. 

Scenery,  63-95;  children's,  15;  color 
of,  71;  curtain,  84-90;  how  to 
paint,  68-73;  screen,  83-84;  soUd 
colored,  72;  pages,  87;  painted, 
64;  what  it  is  meant  to  be,  5. 

Scenes,  American,  81-82;  Arabian, 
75;  Chinese,  78;  Church,  88; 
Colonial,  94;  Egyptian,  78;  Euro- 
pean, 81;  of  Holy  Land,  21;  of 
India,  81;  interior,  234,  236,  237; 
Japanese,  79-81;  Oriental,  74; 
Puritan,  94;  Roman,  81;  Saxon, 


71,  218,  219;  selection  of,  73; 
street,  86,  230,  232. 

Scene  Plates,  216-153. 

Schinkel,  7. 

Sea  coast,  226,  227. 

Shaw,  Bernard,  9. 

Sherwood  Forest,  64. 

Shield,  20;  of  English  Elnights,  30; 
of  ancient  Gaul,  27;  of  the  Greeks, 
24;  of  the  Romans,  26. 

Sky,  midnight,  77. 

Sleeve,  "dagged,"  36, 119. 

Spinning  wheel,  95. 

Spot  light,  66. 

Stage,  badly  shaped,  63;  High 
School,  66;  miniature,  70;  revolv- 
ing, 9;  sliding,  9;  wagon,  9. 

Stanislavski,  Constantin,  7. 

Starke,  Ottomar,  7. 

Stockade,  A,  82. 

Sumptuary  laws,  35. 

Sumurun,  11,  76. 

Tabard,  31,  34;  dress,  32. 

Tagore,  23. 

Theater,  Art,  7, 10, 83;  Bandbox,  10; 
Brookside,  249;  Children's,  15; 
Community,  15;  Ejcperimental, 
10,  11;  German,  7;  Greek,  247, 
251;  Little,  5;  New  Art  of  the, 
7;  outdoor,  249-251;  relief,  71; 
Young  People's,  15. 

Tunic,  20,  37;  of  ancient  Britons, 
28;  of  Britons,  29;  of  andent  Gaul, 
27;  of  India,  23;  long,  30;  me- 
diaeval, 35;  Roman,  25,  26; 
sleeved,  31,  32;  short,  30;  of  yeo- 
manry, 33. 

Toga,  25. 

Tran^arencies,  66. 

Tudor  room,  83. 

Turban,  23. 

Urban,  Joseph,  8. 


258  INDEX 

Viking  helmet,  54.  Window,   Colonial,    246,   247;  me- 

diaeval, 236;  Saxon,  219. 
Washington,  George,  154;  Martha,      Witch,  204-206. 

50,  159,  161,  163. 
Washington  Square  Players,  10, 11.       Yacht,  242,  243. 
Wilkinson,  Norman,  76.  Yeddo,  uses  of,  65. 


The  following  pages  contain  advertisements 
of  some 

BOOKS  ON  THE  DRAMA 

and 

PLAYS 

A  descnptive  circular 
of  all  their  books  in 
this  field 
will  be  sent  on  application  by 

HENRY  HOLT  AND  COMPANY 

19  W.  44th  St.                            New  York 

Producing  in  Little  Theaters 

by  CLARENCE  STRATTON 

Author  of  "Public  Speaking" 

258  pages — 70  illustrations — 11    chapters 

Annotated  list  of  200  plays  for  amateurs 

$2.90 

A  model  manual,  sane  and  sensible,  helpful  and  practical 
.  .  .  A  word  of  praise  must  be  given  to  the  many  illustra- 
tions. .  .  .  selected  to  adorn  this  book.  .  .  .  Immediately 
helpful. — Brander  Matthews  in  New  York  Times. 

The  most  important  book  for  the  small  stage  and  one  of 
the  most  practical  additions  to  theatrical  literature  for  some 
time  past. — New  York  Literary  Review. 

The  amateur  producer  is  bound  to  appreciate  these  pages 
particularly. — St.  Louis  Star. 

It  is  impossible  to  over-estimate  the  value  of  this  book  as 
a  practical  and  stimulating  help. — Hartford  Courant. 

A  record  of  interesting  experiments  in  stagecraft  with  well 
selected  list  of  200  plays  suitable  for  amateurs. — St.  Louis 
Post-Dispatch. 

A  varied  and  unusual  collection  of  facts  and  data.  .  .  , 
Sanely  and  soundly  acquainted  with  things  theatrical. — Phila- 
delphia Ledger. 

For  the  thousands  of  teachers  who  take  on  dramatics  as 
extra  duty,  the  work  is  invaluable. — Drama. 

The  book  is  extremely  well  done.  ...  To  its  public  it  will 
be   indispensable. — Chicago  Evening  Post. 

The  first  book  which  has  come  forth  which  treats  all  the 
Important  phases  of  a  little  theater. — Brooklyn  Eagle. 

An  excellent  book.  .  .  .  Knows  his  subject  well. — Boston 
Herald. 

HENRY     HOLT     AND     COMPANY 


BY     CONSTANCE     D'ARCY     MACKAY 

THE  LITTLE  THEATRE  IN  THE  UNITED  STATES 

Illustrated.    With  index.    Large  12mo. 

COSTUMES  AND  SCENERY  FOR  AMATEURS 

With  numerous  illustrations  and  index.    Large  12mo. 

HOW  TO  PRODUCE  CHILDREN'S  PLAYS  $1.35 


PLAYS 
THE  BEAU  OF  BATH  and  Other  One- Act  Plays 

The  Silver  Lining,  Ashes  of  Roses,  Gretna  Green,  Counsel 
Retained,  The  Prince  of  Court  Painters.  Plays  for  amateurs 
and  for  Little  Theatres.  With  illustrations  after  Reynolds, 
Humphrey  and  Romney. 

THE  FOREST  PRINCESS  and  Other  Masques 

The  Gift  of  Time  (a  Christmas  Masque),  A  Masque  of  Con- 
servation, The  Masque  of  Pomona,  A  Christmas  Masque,  The 
Sun  Goddess,  A  Masque  of  Old  Japan,  The  Revival  of  the 
Masque,  supplemented  biLpapers  on  Costumes  for  Masques  and 
Music  for  Masques. 

PATRIOTIC  PLAYS  AND  OTHER  PAGEANTS 

The  Pageant  of  Patriotism  and  The  Hawthorne  Pageant. 
Both  are  given  in  versions  for  outdoor  and  for  indoor  per- 
formance, and  arranged  so  that  they  can  be  split  up  into  short 
plays. 

THE  HOUSE  OF  THE  HEART 

Short  plays  in  verse  for  children  of  fourteen  or  younger: — 
The  House  of  the  Heart  (Morality  Play),  The  Enchanted  Gar- 
den (Flower  Play),  A  Little  Pilgrim's  Progress  (Morality 
Play),  A  Pageant  of  Hours  (to  be  given  out  of  doors),  On 
Christmas  Eve,  The  Princess  and  the  Pixies,  The  Christmas 
Guest  (Miracle  Play),  etc. 

THE  SILVER  THREAD  and  Other  Folk  Plays 

The  Silver  Thread  (Cornish),  The  Forest  Spring  (Italian), 
The  Foam  Maiden  (Celtic),  Troll  Magic  (Norwegian),  The 
Three  Wishes  (French),  A  Brewing  of  Brains  (English )j 
Siegfried  (German),  The  Snow  Witch  (Russian). 


HENRY     HOLT      AND      COMPANY 

PUBLISHERS  NEW  YORK 


\ 


2d  Printing  of 

CAROLINA  FOLK-PLAYS 

Edited  by  Frederick  H.  Koch,  founder  of  The  Dakota  Playmakers 
and  of  The  Carolina  Playmakers. 

Five  one-act  plays  by  various  authors.  When  Witches  Ride — 
Peggy— Dod  Gast  Ye  Both!— Off  Nag's  Head  or  The  Bell  Buoy 
— The  Last  of  the  Loivries.  With  illustrations  from  their  pro- 
ductions. $1.75 

Plays  full  of  atmosphere  and  flavor,  with  outlaws,  Moonshiners, 
"revenoors,"  witches  and  land-pirates. 

Walter  Prichard  Eaton,  in  Judge:  "Ah!  Something  American! 
.  .  .  .  and  well-made,  too.  Here  is  a  true  amateur  theatre, 
created  to  bring  a  richer,  fuller  life  to  a  community  far  from 
Broadway,  and  even  farther  from  Moscow.  With,  or  without 
George  Nathan's  permission,  we  toss  up  our  hat  and  cry,  Hoorah!" 

Lloyd  Morris,  in  The  International  Book  Review:  "Verhable 
folk-plays,  as  native  and  indigenous  to  American  soil  as  are  the 
plays  of  Colum  or  Synge  to  Ireland.  The  volume  reveals  quite 
clearly  the  art  and  the  versatility  of  the  playmakers,  the  authen- 
ticity of  their  inspiration,  the  verisimilitude  and  beauty  with  which 
they  portray  the  life  and  the  dreams  of  the  folk  about  whom  they 
write." 

RoscoE  W.  Brink,  in  The  New  York  Tribune:  "Good  stuff  for 
the  people's  platform.  They  read  as  if  they  were  much  nearer  to 
the  folk  than  do  'The  Three  Wonder  Plays'  by  Lady  Gregory." 

Maxwell  Anderson,  in  The  New  York  World:  "Likely  to 
be  of  more  moment  in  the  history  of  the  drama  in  the  United 
States  than  the  work  of  all  the  manufacturers  and  importers  of 
theatrical  novelties  who  are  famous  as  producers  in  this  city." 

Augustus  Thomas,  in  The  New  York  Review:  "I  consider 
them  fully  equal  to  any  of  the  Irish  folklore  plays  produced  by 
the  Abbey  Company  under  Lady  Gregory's  direction." 

Frances  L.  Baer,  in  The  Washington  Post:  "They  are  unique 
bits  of  dramaturgy,  dynamic  in  their  dramatic  sweep,  filled  with 
the  spirit  and  primitive  clash  of  the  Carolina  hills  and  coasts, 
touched  with  beauty  and  so  unlike  the  artificial  clap-trap  that  we 
are   accustomed  to  see   in  the   professional    playhouse." 

Gordon  Whyte,  in  The  Billboard:  "Splendid  examples  of  what 
people,  seeking  dramatic  expression  for  their  feelings,  can  do  in  a 
section  of  the  country  far  from  the  lights  of  Broadway." 

The  Literary  Review  of  The  New  York  Evening  Post:  "One 
gets  to  these  plays  a  straight  intelligible  response,  which  is  more 
than  can  be  said  for  certain  Broadway  successes." 

Nina  H.  Covington,  in  Raleigh,  N..  C,  News  and  Observer: 
"These  plays  possess  exceptional  dramatic  and  poetic  merit  and 
above  all  make  a  great  epoch  in  our  literature." 

HENRY  HOLT  AND  COMPANY 

PUBLISHERS  NEW  YORK 


Rostand's  CYRANO  DE  BERGERAC 

The  translation  by  Brian  Hooker,  which  is  played  by  Walter 
Hampden.    With  a  "prefatory  gesture"  by  Clayton  Hamilton. 

$1.75- 
A  generation  of  theatre-goers  has  passed  since  Coquelin  and 
Mansfield  played  "Cyrano"  here,  and  in  that  time  the  play  has 
not  been  given  excepting  for  an  occasional  special  matinee. 

Walter  Hampden  tried  the  several  existing  translations,  but 
did  not  find  one  which  he  felt  he  could  enjoy  acting.  He  feels 
this  play  fairly  inspired  our  noted  poet,  Mr.  Hooker.  Mr. 
Hooker  not  only  gives  us  fine  poetry,  but  a  version  of  Rostand's 
entire  play,  that  both  faithfully  retains  his  thought  and  is  emi- 
nently suited  to  stage  production. 

Clayton  Hamilton  in  the  Introduction:  "The  English  text 
has  turned  alive  under  his  hands  and  kindled  itself  into  a 
veritable  poem.  It  conveys  from  one  language  to  another  the 
briskness,  the  brilliance,  the  eloquence,  the  spontaneity,  the 
rapture  of  the  original." 

Constance  D'Arcy  Macka/s  FRANKLIN 

A  play  in  four  acts.  By  the  author  of  The  Beau  of  Bath  and 
other  XVIIIth  Century  Playlets,  which  is  in  its  third  American 
edition  and  is  to  be  published  in  England.  She  shows  us 
Franklin  from  his  "Poor  Richard"  days  through  the  signing  of 
the  treaty  with  France.  $1.75. 

Boston  Herald:  "We  see  Franklin  as  the  wag,  the  dreamer, 
the  lover,  the  scientist,  the  author,  the  diplomat,  the  patriot. 
It  is  a  fascinating  play  to  read." 

Theatre  Magazine:  "The  character  of  Franklin  himself  is 
delightfully  drawn,  a  splendid  part  for  some  real  actor  to  bite 
into  .  .  .  the  other  parts  each  stand  out  in  a  life-like  manner, 
with  freshness  and  charm.  .  .  .  Franklin  only  needs  his  proper 
interpreter  to  become  a  second  'Disraeli.' " 

George  Middleton's  and  Guy  Bolton's 
POLLY  WITH  A  PAST  and  ADAM  AND  EVA 

Two  three-act  comedies  of  America  today  in  one  volume. 
Both  have  had  long  runs  on  the  professional  stage  and  are 
eminently  suitable  for  Little  Theatres. 

Bookman:     "Much  gdbd  dialog  and  a  deal  of  amusement." 

Providence  Journal:  "They  have  a  marked  strain  of  wit 
running  through  them." 

Clayton  Hamilton  in  New  York  Herald:  "The  characters 
are  adequately  true  to  our  contemporary  American  life,  and 
the  dialog  is  fluent,  brisk  and  very  often  brilliant." 

HENRY    HOLT    AND    COMPANY 

19  West  44TH  Street     (viii  '23)  New  York 


BY    CLAYTON    HAMILTON 

Each  book  fully  indexed.     i2mo.  $2.25  net. 

Brander  Mathews  in  Nenv  York  Times:  "His  four  volumes 
of  collected  dramatic  criticisms  are  not  unworthy  to  be  set  on 
the  shelf  by  the  side  of  Lemaitre  and  Faguet.  ...  He  has 
insight  and  sympathy  and  disinterestedness.  These  plays  are 
vital  and  vivid  in  Mr.  Hamilton's  pages. 

PROBLEMS  OF  THE  PLAYWRIGHT 

Building  a  Play  Backward;  Surprise  in  the  Drama;  High 
Comedy  in  America;  The  George  M.  Cohan  School  of  Play- 
rights;  Middle  Class  Opinion;  Dramatic  Talent  and  Theatrical 
Talent;  The  Plays  of  Lord  Dunsany;  Romance  and  Realism  in 
the  Drama;  Scenic  Settings  in  America;  The  Non-Commercial 
Drama ;  A  Democratic  Insurrection  in  the  Theatre ;  A  Scheme 
for  a  Stock  Company;  What's  Wrong  with  the  American 
Drama,  etc.,  etc. 

STUDIES  IN  STAGECRAFT 

The  New  Art  of  Making  Plays,  The  Pictorial  Stage,  The 
Modern  Art  of  Stage  Direction,  A  Plea  for  a  New  Type  of 
Play,  The  Undraraatic  Drama,  The  Supernatural  Drama,  The 
Irish  National  Theatre,  Where  to  Begin  a  Play,  A  New  De- 
fense of  Melodrama,  The  Art  of  the  Moving-Picture  Play, 
The  One-Act  Play  in  America,  Organizing  an  Audience,  etc., 
etc. 

THE  THEORY  OF  THE  THEATRE 

What  is  a  Play? — The  Actor  and  the  Dramatist. — Stage 
Conventions  in  Modern  Times. — The  Four  Leading  Types  of 
Drama. — The  Modern  Social  Drama. — The  Public  and  the 
Dramatist. — Dramatic  Art  and  the  Theatre  Business. — Dramatic 
Literature  and  Theatric  Journalism. — The  Function  of  Imagin- 
ation, etc.,  etc. 

SEEN  ON  THE  STAGE 

This  book  covers  a  wide  range  of  plays,  authors,  etc.,  includ- 
ing O'Neill,  Dunsany,  Ervine,  Drinkwater,  Shaw  and  Tolstoi. 


BY    LOUIS    CALVERT 

PROBLEMS  OF  THE  ACTOR 

With  an  Introduction  by  Clayton  Hamilton. 
John    Corbin   in    The   New    York    Times:      "The   best   book 
on  acting  in  English    .    .    .    teems  with  happy  anecdotes." 

$2.25. 

HENRY    HOLT    AND    COMPANY 

PUBLISHERS  (10'23)  new  YORK 


UNIVERSITY  OF  CaLIIORNIA  LIBRARY 
Los  Angeles 
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